Technoetic Arts最新文献

{"title":"Integrating parallel conversations in an institutionalized society: Experiments with Team Syntegrity online","authors":"Marcus Vinicius A. F. R. Bernardo","doi":"10.1386/tear_00051_1","DOIUrl":"https://doi.org/10.1386/tear_00051_1","url":null,"abstract":"For the philosopher Ivan Illich, society became a set of systems rather than a group of people. As such, society depersonalizes life and brings the need for open non-systematized spaces where people can act and interact outside their typical roles. On the other hand, an absence of formal\u0000 structures may simply open spaces for the informal reproduction of society’s already well-established structures. Given this conjuncture, can systems be designed to foster personal expression? The answer I found in cybernetics is self-organization, a process of adaptation to a context\u0000 that can grow different organizations depending on what this context provides. This implies that personal expression is a concern in society’s emergent organizations, calling for meta planning to design the context of some of society’s self-organization processes. The cybernetician\u0000 Gordon Pask argued that depersonalization follows from non-conversational communications, like the ones that develop in large committees. In response, Pask’s fellow cybernetician Stafford Beer proposed a meeting protocol called Team Syntegrity allowing large groups to subdivide into\u0000 small integrated discussion groups. While Beer’s work has been extensively discussed in existent literature, this article presents the results of four experiments conducted by using variations of Beer’s protocol to understand both the ease with which it can be adapted to different\u0000 situations, and the implications of its conversational structure on personal expression. The experiment’s realization demonstrates that the protocol’s preparation is laborious and hard to adapt in a timely manner in situations where participant numbers fluctuate. Automation of\u0000 these processes, however, offers possibilities to use the approach in loosely organized groups. Automation can also help choosing the most appropriate protocol for particular situations through the manipulation of its configuration. Despite difficulties, the protocol offers promise for different\u0000 purposes, encouraging personal expression in a way that reverberates with others’ personal perspectives.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45160813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aesthetics and the semblance of the real in terroristic gameplay","authors":"Salvador Miranda","doi":"10.1386/tear_00041_1","DOIUrl":"https://doi.org/10.1386/tear_00041_1","url":null,"abstract":"‘Aesthetics and the semblance of the real in terroristic gameplay’ explores the recreation of terrorism and terrorist role-playing in gaming in a post 9/11 context. Drawing examples from contemporary games like Grand Theft Auto, Call of Duty, ARMA 3: Takistan, Insurgency: Sandstorm and SQUAD, games provide for surprisingly subjective explorations of terrorist role-playing and image-making. What does it mean to recreate these images of terrorism, so closely associated with propaganda from the War on Terror? This article looks at the phenomenon through the Lacanian notion of the real; that which cannot be reduced to the symbolic or semiotic. In particular, it looks at the aesthetic appeal of terroristic images and how these lead to their recreation. The article suggests that the virtual world of gaming provides a risk-free space to explore the taboo of terrorism while participating in the recreation of aesthetic media tropes. It further explores the idea of terrorism as the return of the Lacanian real and how terrorist gameplay can be understood as the re-enactment of the semblance of the real. This article draws from the author’s 2019 short film, Aim Down Sights.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49400744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Somatic poetics","authors":"Clea T. Waite","doi":"10.1386/tear_00044_1","DOIUrl":"https://doi.org/10.1386/tear_00044_1","url":null,"abstract":"This article considers scientific data and methods taken as a vocabulary for a visual language of poetics, shaping an artistic practice exploring the liminal poetics of space, time, science and mythology, equally considered. These artworks focus on the moving image as an immersive, architectonic construct, one that makes it possible to blur the boundary between space and time. They are cinematic environments that create a space of spatial and temporal ambiguity, open to the performative role of the viewer in composing the unfolding narrative. The artworks presented here began in the crossover between art and science, technology and anthropology, exploring topics and incorporating methods from each area. Transdisciplinary processes play a critical role in this artistic research. These works reflect cinema approached as a multimodal field of possibilities in which montage motivates movement and focus through this field, creating a participatory composition of sight, sound, movement and memory that immerses viewers by actuating somatic perception. Shape, scale, immersion, interactivity, simultaneity, embodiment, implementation and the manipulation of time create concrete metaphors that echo the multivalent content of the works: a collaboration with 300 tropical spiders to create a Kino, then letting the audience walk freely among them (or the spiders freely among the audience); an immersive environment enacting the space-time of glacial ice to experience the time of a different form of matter as somatosensory experience; a journey through the human history of the Moon, transcending time, political ideologies, realities and cultures as an encompassing field of simultaneous views and sounds; performing a 2000-year-old act of Thessalian magic on the skyline of Hong Kong. Combining the technological tools available to cinema and science, contrasting magnifications and speeds of observation reveal a material poetics beyond appearance. The artworks presented here elaborate the details of cardinal subjects, diving deep into fundamental domains to unravel the cultural implications embedded within the aesthetics of their data artefacts.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41896244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Co-composition and de-composition: Biological agency as a compositional tool","authors":"N. Helyer","doi":"10.1386/tear_00035_1","DOIUrl":"https://doi.org/10.1386/tear_00035_1","url":null,"abstract":"\u0000GeneMusiK is an artistic project that puts into play ideas about the capacity of physical morphologies to act as mnemonic systems by using DNA to transcode and remix musical structures. The project suggests that both biological and cultural information can function as both macro- and micro-scale structures arrayed at physical loci to create topologies which function as keys to the mapping of memory.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48373859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A brief constellation towards a ruderal futurism","authors":"A. Young","doi":"10.1386/tear_00032_1","DOIUrl":"https://doi.org/10.1386/tear_00032_1","url":null,"abstract":"This article serves as a brief constellation of thought working towards a ruderal futurism. Proposed as an alternative of the granary logic of state and capital, the ruderal is positioned as a force functioning in the aftermath of – and in opposition to – the composite human/state/cereal-turned-capitalist ordering of nature. The role of agriculture and cereal crop production in early states as well as its exalted status within modern nation state and attendant culture is examined as a departure point for experimental approaches to their negation.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46933973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mooncalf: ‘Unclean meat’","authors":"WhiteFeather Hunter","doi":"10.1386/tear_00039_1","DOIUrl":"https://doi.org/10.1386/tear_00039_1","url":null,"abstract":"The calamitous warnings of climate science have been latched onto by a growing roster of biotech start-up companies who propose to invent lab-generated meat alternatives to the ecologically disastrous livestock industry. They use solutionist hype to promote ‘sustainable’, ‘eco-friendly’, ‘cruelty-free’, ‘clean meat’. This moralized marketing, however, masks a continued reliance on animal agriculture. The fact remains that mammalian cells and tissues are grown in vitro using foetal calf serum, a blood-derived nutrient. Is it really possible to grow meat without banking on the bodies of nonhuman others? Might there be more tasteful material? In Bioart Kitchen: Art, Feminism and Technoscience, Lindsay Kelley asks, ‘[h]‌ow do technologies taste?’ This article proposes one answer to her prompt, centred on a technofeminist contextualization of the research-creation project, Mooncalf (2019–present). Mooncalf is a series of wet lab experiments and artistic outputs that showcase the potential viability of human menstrual serum for culturing mammalian tissue. These experiments present a direct provocation that problematizes the cellular agriculture industry as it pertains to the production of ‘clean meat’ and instead works towards a proof-of-concept ‘unclean’ meat prototype. Mooncalf is a symbolic precursor or speculative promise meant to facilitate a ‘cultural taste’ for feminist biotechnologies.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46838678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Offering the Body: Performing proximity in the use of cellular material","authors":"L. Mackenzie","doi":"10.1386/tear_00038_1","DOIUrl":"https://doi.org/10.1386/tear_00038_1","url":null,"abstract":"Cellular and sub-cellular material become creative medium across a range of disciplines that engage with biotechnology, from medicine to art practice. Historically, these practices complicated the boundaries of the body through patriarchal and colonial narratives of abstraction and extraction. In contrast to the ethical requirements of anonymity in medical research, this article suggests that material culture has a duty to know the body it works with. Three brief histories of bodily donation are recounted and aspects of these are contrasted with contemporary approaches to the use of bodily material within art practice. The developing project, Offering the Body, is offered as an example of performative practice that reintroduces a proximity to the body in biotechnological practices and begins to question whether through art practice, the biological body can move from commodity to be considered as a more-than-human resource.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44907504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial","authors":"D. Honorato","doi":"10.1386/tear_00028_2","DOIUrl":"https://doi.org/10.1386/tear_00028_2","url":null,"abstract":"","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45552687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Junk art: The art that needs to be understood – Autoethnographic perspective","authors":"K. Żyniewicz","doi":"10.1386/tear_00031_1","DOIUrl":"https://doi.org/10.1386/tear_00031_1","url":null,"abstract":"Thierry Bardini, in his book titled Junkware, proposed that the apt name for contemporary art would be junk art. He stressed the significant change taking place in art: that the narration and explanatory discourse run by an artist is more important than the visual outcome of the project. According to the knowledge from STS (especially Bruno Latour’s writing), knowledge production is based on multilevel translations. Art based on science can be seen as a kind of translation as well. The production of biological knowledge and bio art creation looks pretty similar, being based on the same laboratory protocols. However, something interesting is happening regarding bio art’s presentations in galleries or museums. The audience is usually unfamiliar with the laboratory work process, which results in something akin to getting just one layer of that translation cake. What is the role of an institution in making junk art readable? What does being lost in translation mean in this context? To work on the questions, I use my autoethnographic notes from the performative killing of my cells (immortalized B lymphocytes), which took place at the opening of an exhibition titled Beyond Borders: Processed Body – Expanded Brain – Distributed Agency at Gallery Łaźnia in Gdańsk (18 December 2019).","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43346575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rendering life: Transgressive affinities between bio art and generative art","authors":"Dejan Grba, V. Todorović","doi":"10.1386/tear_00040_1","DOIUrl":"https://doi.org/10.1386/tear_00040_1","url":null,"abstract":"In this article, we trace the analogies, parallels and affinities between bio-inspired generative art and bio art practices with strong generative flavour. We look at the creative and expressive features in these two fields, compare their shared interests in the design and development of life, and discuss the strategies they apply to communicate and engage the audience. With respect to the existing literature, which relates bio and generative art primarily within a historical context, we compare these two fields focusing on generativity as their common poetic driver. We indicate their shared impetus for rendering distinctive visions of nature in order to identify, contemplate or provoke dramatic changes in the era when biological processes become programmable and living matter can be instrumentalized for various forms of labour. We also examine the epistemological and practical effectiveness of the two fields within a broader socio-technical perspective, which leads us to their constructive critique.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44252326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}