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FCJ-211 Embodying a Future for the Future: Creative Robotics and Ecosophical Praxis

By ⋅ January 23, 2017 ⋅ Post a comment

Keith Armstrong Queensland University of Technology [Abstract] Norwegian philosopher Arne Næss (1995) defined ecosophy as a form of personal, relational and intersubjective philosophy, or a guiding series of principles, which he contrasted with the discipline(s) of ecophilosophy. Ecosophy was subsequently developed by a number of commentators, notably Félix Guattari (1995) who categorised it as a relational process that draws upon interconnected networks of mind, society and environment. My own synthesis, or ecosophical undertaking, is contexualised within the aegis of experimental arts practices, comingled over the past 22 years with diverse historical tendencies in new media arts and net art. In response to societal and environmental imperatives, I have evolved an approach to thinking and working that I call ecosophical, and that involves scoping out a relational, interactive, embodied and interdisciplinary series of interventions that interrogate cultural conditions. This process has involved a broad swathe of media and approaches, and in…

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FCJ-125 From Representation to Sensation: The Transduction of Images in John F. Simon Jr.’s ‘Every Icon’

By ⋅ October 9, 2011 ⋅ One comment

Troy Rhoades. Concordia University, Montreal. [Abstract] Perhaps the peculiarity of art is to pass through the finite in order to rediscover, to restore the infinite.—Gilles Deleuze and Félix Guattari, What is Philosophy? (Deleuze and Guattari, 1994: 197)   Science and Art When encountering John F. Simon Jr.’s software artwork Every Icon (1997) on his website, it can be difficult for viewers to know whether they are seeing the visual execution of a mathematical theorem or experiencing a work of artistic expression. [1] This is because they are presented with a stark white and black thirty-two by thirty-two square grid on the right side of the website and three statements that read like a mathematical theorem on the left side. They state: Given: An icon described by a 32 X 32 grid. Allowed: Any element of the grid to be coloured black or white. Shown: Every icon (Simon, 1997b). [2] But…

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FCJ-124 Interactive Environments as Fields of Transduction

By ⋅ October 9, 2011 ⋅ 2 comments

Christoph Brunner. Zurich University of the Arts & Concordia University, Montreal. Jonas Fritsch. Department of Information and Media Studies, Aarhus Universitet. [Abstract] Introduction Digital and interactive technologies have evolved dramatically as the traditional desktop computer has given way to ubiquitous computation. Computation is now an integrated part of many people’s everyday lives, a question of experience more than simple use, as John McCarthy and Peter Wright have argued in their seminal book on the subject Technology as Experience. Yet while all this might be a simple given, accounting for and working with the reality of newer interactive technologies is less straightforward. Ubiquitous computation provides a digital layer that can be added to almost anything, offering radically new contexts of use and technological possibilities (McCullough, 2004). This changes the way one can—and must—imagine the design of digital and interactive technologies. Design is often now for what Terry Winograd has termed ‘interspaces’,…

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FCJ-122 Anxious Atmospheres, and the Transdisciplinary Practice of United Visual Artists

By ⋅ October 9, 2011 ⋅ One comment

Vince Dziekan Faculty of Art & Design, Monash University, Melbourne [Abstract] In the electric age all former environments whatever become anti-environments. As such the old environments are transformed into areas of self-awareness and self-assertion, guaranteeing a very lively interplay of forces. – Marshall McLuhan   This article initiates a course of research that takes as its focus the transdisciplinary practice of United Visual Artists (UVA). At the heart of UVA’s distinctive art and design practice is a prevailing interest in testing the spatio-temporal relations that exist between site, the performed work and audience perception. Concentrating primarily on the example of their kinetic light and sound sculpture, Chorus, the following text will investigate the aesthetic conditions that underwrite the work’s exhibition. By doing so, this enquiry will speculate on how the integration of digital processes and spatial practice embodied by this particular artwork operates transductively as part of its framing as…

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FCJ-120 Other Ways Of Knowing: Embodied Investigations of the Unstable, Slippery and Incomplete

By ⋅ October 9, 2011 ⋅ 2 comments

Petra Gemeinboeck College of Fine Arts, University of New South Wales, Sydney Rob Saunders Faculty of Architecture, Design and Planning, University of Sydney ‘… unceasingly we are bombarded with pseudorealities manufactured by very sophisticated people using very sophisticated electronic mechanisms. I do not distrust their motives; I distrust their power. They have a lot of it. And it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing. … However, I will reveal a secret to you: I like to build universes that do fall apart.’ —Philip K. Dick (1995: 262) One of the most curious characteristics of computing processes and the medium of the digital is that they evoke, reinforce, produce and nourish two disparate positions of understanding us and the world: the reductionist, generalised and objective; and, the situated, partial and multiple. The first looks at…

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