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- Volume 3, Issue 2, 2005
Technoetic Arts - Volume 3, Issue 2, 2005
Volume 3, Issue 2, 2005
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Coherence, agility and cultural selection
More LessThe Western world is in the habit of looking at the history of visual art ‘in closeup’ - single image by single image - and receiving its information about art history in that uniquely particulate form. But if instead we distance ourselves a little from the history of art, enough to see it ‘in long-shot’ as it were - i.e. as a more or less continuous, dense flow of images - patterns emerge in the flow which convey new information, which can sometimes be in direct conflict with long-cherished traditional assumptions. If we use the 25,000 plus year of art history in this way as a ‘barium tracer meal’ for cultural evolution itself, it is unexpectedly revealed as punctuated rather than gradual, driven by alternating phases of open and closed growth in the human ecology, each with its own characteristic pressures of cultural selection. As a result human culture itself has two equally valid but opposite ‘fitness landscapes’: in the past 500 years the more successful strand in Western civilization has been the Type-A low-cohesion/ high-agility culture associated with a phase of open evolution involving our species relatively rapid transition from a manual to a machine ecology. The West’s traditional object-based imagery of painting and sculpture has its origins in that period of accelerating pre-industrial and industrial growth with its characteristic ‘economics of plenty’ epitomized by a triumphant capitalism. But the newly-emergent event-based imagery of installations and contextual art of the later twentieth and early twenty-first century is now indicating the gradual emergence (or more properly re-emergence) of the Type-B high-cohesion/lowagility pattern, previously associated with so-called ‘primitive’ cultures, and here with the global consolidation of our new machine ecology in a world increasingly dominated by the economics of scarcity. If that is so, it is probable that the syncretic form of meaning associated with the ‘sticky memes’ of art will increasingly come to challenge the present cultural dominance of analytic meaning, epitomized by the ‘smooth memes’ of science. The resolution of that conflict in evolutionary semantics may have a direct bearing on our species capacity to survive into the future. Whether it will be more decisively resolved within the Western or the Eastern group of civilizations seems at present a very open question.
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The Fun Palace: Cedric Price’s experiment in architecture and technology
More LessThis article examines how in his influential 1964 Fun Palace project the late British architect Cedric Price created a unique synthesis of a wide range of contemporary discourses and theories, such as the emerging sciences of cybernetics, information technology, and game theory, Situationism, and theater to produce a new kind of improvisational architecture to negotiate the constantly shifting cultural landscape of the postwar years. The Fun Palace was not a building in any conventional sense, but was instead a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place. This constantly varying design for a new form of leisure center began in 1962 as a collaboration between Cedric Price and avant-garde theater producer Joan Littlewood. Littlewood had conceived of a new kind of theater designed to awaken the passive subjects of mass culture to a new consciousness. Her vision of a dynamic and interactive theater provided the programmatic framework on which Price would develop and refine his concept of an interactive, performative architecture, adaptable to the varying needs and desires of the individual. By assembling their own pedagogical and leisure environments using cranes and prefabricated modules in an improvisational architecture, common citizens could escape from everyday routine and serial existence and embark on a journey of learning, creativity, and individual fulfillment. The Fun Palace was one of the more innovative and creative proposals for the use of free time in postwar England. It also provided a model for the 1976 Centre Pompidou in Paris.
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Fostering mind-body synchronization and trance using fractal video
Authors: Kathleen Eagan-Deprez and Reginald HumphreysInnovations in fractal creation procedures allow for a new style of fractal art and video, with enhanced aesthetics and other emergent properties. Biosynchronously timed fractal video can facilitate focusing of attention, and when paired with music, creates an audiovisual stimulus that can facilitate certain trance phenomena. Maximization of these effects can foster a state of mind-body synchronization, a trance-like state similar to hypnosis, referred to as the fractal-viewing trance (FVT). The fractal-viewing trance has potential use as an analogue of self-hypnosis or meditation, for achieving various health benefits, and for fostering personal development.
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Ritualizing interactive media: from motivation to activation
By Semi RyuThis paper intends to reveal the essential value of interactive media by fully understanding the complex interactive mechanism of human experience. Following Cartesian dualistic thought, interactive technology has primarily been utilized as a physical control device. It hasn’t sufficiently explored its gigantic potential as a true interactive medium. Interactive technology reflects our desire to interact with someone or something. Historically, human desire for interaction has been continuously manifested from the day of primitive ritual to contemporary cyberspace. Our interactive routines have continued, from micro to macro scale, in order to confirm our existence in every day life. This universal repetitive pattern of human activity is ‘the ritual’. It is ritual because it is the archetypes of cycles driven by human instinct, regardless of their cultural and historical period. In this paper, I am defining ‘the form of ritual’, to explain the fundamental human process of interaction and becoming, and furthermore, to find the imperative potential of interactive media. The form of ritual will be explained in detail, with agent, driving force, process and by-product, taking reference from Korean shaman ritual, Yin/Yang process and Alfred North Whitehead’s process philosophy. My virtual puppetry with spiralling interaction, ‘Yong-Shin-Gud’ (calling-dragon-spirit), will be introduced as an art example to carry out the ritual. Interactive technology is an ongoing expression of human desire. Its essential value would be found in understanding human beings, nature and cosmos. Revealing its hidden essence, historical presence and spiritual value will be the next paradigm of interactive art practice.
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Mind, matter, and quantum mechanics: towards a new conceptual theoretical framework
More LessFrequently, rationally less justifiable arguments and often so called implicit assumptions (which are not explicitly clarified) regarding our conceptions of reality are perhaps an underestimated but crucial factor causing controversial discussions between the representatives of equal and different disciplines. The essay conceptualizes the separation of academic disciplines from a new theoretical viewpoint by looking at the fundamental structures of reality on the level of the roots, not the fruits. Basic assumptions and deeply rooted convictions and conceptions of reality, theories and models in quantum physics, consciousness studies and art may thereby be regarded as a cause for communication problems. Can a wider scope of how to define the foundation of science support the concept of a necessary initiation of a movement towards a more expansive and deliberate synchronization of the separate disciplines into new synthetic combinations of knowledge? The essay speculatively concludes with some central points of how new modes of knowledge production may be envisioned. It includes a perspective on the origin of knowledge with a wider scope that goes beyond the conventional frameworks of scientific and artistic exploration.
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Volumes & issues
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Volume 21 (2023)
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Volume 20 (2022)
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Volume 19 (2021)
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Volume 18 (2020)
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Volume 17 (2019)
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Volume 16 (2018)
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Volume 15 (2017)
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Volume 14 (2016)
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Volume 13 (2015)
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Volume 12 (2014)
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Volume 11 (2013)
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Volume 10 (2012)
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Volume 9 (2011 - 2012)
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Volume 8 (2010 - 2011)
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Volume 7 (2009)
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Volume 6 (2008 - 2009)
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Volume 5 (2007)
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Volume 4 (2006)
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Volume 3 (2005)
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Volume 2 (2004)
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Volume 1 (2003)