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- Volume 5, Issue 3, 2007
Technoetic Arts - Volume 5, Issue 3, 2007
Volume 5, Issue 3, 2007
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The behaviour of architectural forms
By Sana MurraniTechnological advancement and a new understanding of complex life processes have contributed to the development of radical decentralized thinking in architecture. Architecture is no longer regarded as a straightforward matter of design, construction and use; instead it is now seen as an inter-disciplinary field which provokes issues of life, survival and complexity.
This article questions the behaviour of architectural forms. It proposes the creation of an active model of the fusion of biologically inspired systems and dynamic perception, which allows this behaviour to be generated and analyzed. It then evolves this notion, considering multi-layers of complexity derived from natural phenomena and observation.
The narrative of this work is derived from the notion of conceptualizing architectural form based on a cybernetic model, arguing that architecture needs to consider a collective dynamic space in between, the form, its environment, the user, the observer and the theorist. It approaches issues of living processes, survival and emergence, and conveys the concept of behavioural architectural form through a pre-programmed model that encapsulates the ideas of complex systems and perception.
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Extended theatre composition in telematized environments
More LessIn the pursuit of a dramaturgy of telematics as a compositional practice, the author builds a position on technology as externalized technique, develops a dramaturgic strategy with notions of an extended theatre practice and reports on a realized telematized performance where a practical implementation was explored.
The theatrical site is viewed as a construct of attention, generated by the performers through the performance composition. The composition determines the audience experience, orchestrated by how the construction of the site manages their perspectives, and how the performers are situated in the consciousness site of the audience.
In the performed event the performers articulate as a collective extended entity, incorporating the transformation of the performance site via the articulation strategies implemented in the staging. Telematics is argued to be a technology facilitating specific modes of thinking, generating specific modes of actions and presence, which enable new performance sites and new modes of situating performance.
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Brave BioArt 2: shedding the bio, amassing the nano, and cultivating posthuman life
More LessThis article will address an overview of BioArt, biomedia and its practitioners, developed through a series of semi-structured, qualitative interviews and openended discussions with more than fifteen experts in the field. BioArt is approached from the perspective of scientific exploration, visual design in interactivity and installation, and social commentary and political activism. Of consequence is the fact that BioArt is relatively new, its nomenclature is without a codified definition, and bioartists have varied views on the parameters of its biomedia. Regardless, BioArt has been escalating as a fecund medium with the potential for spawning visionary and critical practices and theories. In lieu of a slippery slope in which artists rely on freedom of expression in substantiating artworks, the burden of proof is placed on artists to be creative and objective in understanding what it means to tamper with biology and alter life forms. Issues of ethics have already affected artists' practices and venues for exhibition, and as BioArt continues to develop, research practice has become a necessary field of study. In addition, as biomedia evolve and emergent technologies partner with current biotechnologies, there is concern if the concept of BioArt is ambiguous in light of the fact that biotechnology is dovetailing nanotechnology, artificial general intelligence and cognitive science. Herein there is a need for practice-based scenarios for questioning constructive and destructive viewpoints about BioArt and, more particularly, concerning the future of life forms.
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Eco-media: art informed by developments in ecology, media technology and environmental science
By Andrea PolliIn the twenty-first century, there has been a resurgence of ecologically conscious art among artists using new technologies. Like Eco-art, this recent movement, which might be called Eco-media, is interdisciplinary. Eco-media is heavily influenced by developments in environmental science, in particular developments in remote imaging and other kinds of remote Earth sensing (for example, the widespread use of satellite imaging and GPS) and developments in computer modelling (for example, detailed global models of climate that not only model the physics of the Earth and solar system, but also explore the chemistry and biology of the Earth).
This article will discuss developments in media art related to the computerized interpretation of complex data sets describing and modelling the natural world. It will explore work that has historically straddled artistic and scientific development, specifically Marey's work in the nineteenth century in photography and motion pictures and give examples of artists who are working in the area in-between art and science today. It will also discuss connections between this work and the historical Romantic sublime and the political dimension of this work as advocating for the preservation of the natural world, and give examples of some of the author's artworks in this area.
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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)