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Intellect Books - Roy Ascott

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265 pages

English

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We are in the middle of a process of complex cultural transformation, but to what extent is this matched by the transformation in the way we see ourselves? This book covers a wide-ranging discussion on the interaction between Art, Science and Technology, and goes on to challenge assumptions about 'reality'. Loosely themed around four key elements of Mind, Body, Art and Values, the editor leads the investigation through the familiar territories of interactive media and artificial life, combining them with new and ancient ideas about creativity and personal identity.The contributing authors number over sixty highly respected practitioners and theorists in art and science, bringing to the subject a stimulating diversity of approach and a rich background of knowledge. Art has long been preoccupied with questions involving the mind and consciousness. But it is fast finding that new technology, creatively applied, brings new possibilities to bear. This volume provides a strong foundation for the debates that are sure to follow in this field.

Sujets

Arts visuels

Éducation

ART

Cultural Studies

General

Consciousness

Education

Physics

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Publié par	Intellect Books
Date de parution	01 janvier 2000
Nombre de lectures	0
EAN13	9781841508153
Langue	English
Poids de l'ouvrage	1 Mo

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Extrait

Reframing Consciousness
Edited by
Roy Ascott
First Published in Hardback in 1999 by Intellect Books , FAE, Earl Richards Road North, Exeter EX2 6AS, UK
First Published in USA 1999 by Intellect Books , ISBS, 5804 N.E. Hassalo St, Portland, Oregon 97213-3644, USA
Copyright 1999 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
Consulting Editor: Masoud Yazdani Cover Images: Peter Anders Copy Editor: Wendi Momen
A catalogue record for this book is available from the British Library
Electronic ISBN 1-84150-815-2 / Hardback ISBN 1-84150-013-5
Printed and bound in Great Britain by Cromwell Press, Wiltshire
Acknowledgements
There are many individuals to thank for their help in bringing this book into being. In addition to the authors themselves, my colleagues and students in CAiiA-STAR, the editorial support team at ACES, and the staff of Intellect, particular thanks are due to Professor Ken Overshott, Principal of the University of Wales College Newport, who has made privileged provision for CAiiA from its inception. His continuing support for the Consciousness Reframed conferences is much appreciated.
Preface
Introduction
Part I - Mind
1 Models
Can there be Non-Embodied Information? - Stephen Jones
Acts Between and Between Acts - Ranulph Glanville
Between Reality and Virtuality: Toward a New Consciousness? -Julio Bermudez
The Actualisation of the Virtual - Mark Palmer
We are the Consciousness Musicians - Electronic Art, Consciousness and the Western Intellectual Tradition - Mike King
Immersive Computer Art and the Making of Consciousness - Laurie McRobert
2 Memory
Casablanca and Men in Black: Consciousness, Remembering, and Forgetting - Michael Punt
Virtual Space and the Construction of Memory - Andrea Polli
Memory Maps and the Nazca - Bruce Brown
3 Transcendence
Parallel Worlds: Representing Consciousness at the Intersection of Art, Dissociation, and Multidimensional Awareness - Kristine Stiles
Sacred Art in a Digital Era: Or the Internet and the Immanent Place in the Heart - Niranjan Rajah and Raman Srinivasan
Negotiating New Systems of Perception: Darshan, Diegesis and Beyond - Margot Lovejoy and Preminda Jacob
Seeing Double: Art and the Technology of Transcendence - Roy Ascott
Jumping Over the Edge: Consciousness and Culture, the Self and Cyberspace - Lily D az
Space-time Boundaries in the Xmantic Web - Maria Luiza Fragoso
Part II - Body
4 Post-biological Body
Recreating Ourselves: Romeo and Juliet in Hades by Future Movie - Naoko Tosa and Ryohei Nakatsu
The Body as Interface - Jill Scott
Art at the Biological Frontier - Eduardo Kac
Images and Imaging - Amy Ione
The Power of Seduction in Biomedicine - Nina Czegledy
Stasis: The Creation & Exploration of Subjective Experiential Realities through Hypnosis, Psychosynthesis & Digital Technology - Richard Brown
Emotion, Interactivity, and Human Measurement - Christopher Csikszentmihalyi
Writing the Post-Biological Body - Steve Tomasula
5 Space and Time
For a Spatiotemporal Sensitivity - Ginette Daigneault
Virtual Geographies, Borders and Territories: GPS Drawings and Visual Spaces - Andrea Wollensak
An Exploration of Spatial/Temporal Slippage - Chris Speed
Thinking Through Asynchronous Space - Mike Phillips
The Space Between the Assumed Real and the Digital Virtual - Dan Livingstone
Part III - Art
6 Strategies
The Work of Art in the Age of Digital Historiography - Brett Terry
Mind Memory Mapping Metaphor:Is Hypermedia Cognitive Art? - Dew Harrison
The House that Jack Built: Jack Burnham s Concept of Software as a Metaphor for Art - Edward Shanken
Streams of Consciousness: Info-Narratives in Networked Art - Christiane Paul
Consciousness and Music - Mladen Milicevic
The Irreducibility of Literary Consciousness - Philipp Wolf
Nonsense Logic and Re-embodied Intelligence - Bill Seaman
Conscious Isomorphisms and Young Farmers: Consciousness as a Subject of Artistic Research - Stefaan Van Ryssen
Modeling Interpretation - Sharon Daniel
Performing Presence - Barry Edwards
7 Projects
ph m re: Landscape, Earth, Body and Time in Immersive Virtual Space - Char Davies
Virtual Environment as Rebus - Margaret Dolinsky
Dynamic Behavioural Spaces with Single and Multi-User Group Interaction - Miroslaw Rogala
Reality, Virtuality and Visuality in the Xmantic Web - Tania Fraga
Xmantic Webdesign - Fatima Bueno
Assigning Handlers to a Shadow - Kieran Lyons
8 Architecture
Human Spatial Orientation in Virtual Worlds - Dimitrios Charitos
An Interactive Architecture - Gillian Hunt
Heterotic Architecture - Ted Krueger
The Cybrid Condition: Implementing Hybrids of Electronic and Physical Space - Peter Anders
Virtual Architecture as Hybrid: Conditions of Virtuality vs. Expectations from Reality - Dace Campbell
9 Creative Process
Acquiring an Artistic Skill: A Multidimensional Network - Christine Hardy
Enlarging the Place for Creative Insight in the Theatre Model of Consciousness - Thomas Draper
An Approach to Creativity as Process - Ernest Edmonds and Michael Quantrill
We are having an idea: Creativity within Distributed Systems - Fred McVittie
To be or not to be.... Conscious - Eva Lindh and John Waterworth
Part IV - Values
10 Values
CyberArt & CyberEthics - Colin Beardon
The Metaphoric Environment of Art and Technology - Carol Gigliotti
The Four Seas: Conquest Colonisation, Consciousness in Cyberspace - Joseph Lewis
Future Present: Reaestheticizing Life through a New Technology of Consciousness - Anna Bonshek and Gurdon Leete
Conspiracies, Computers and Consensus Reality - Paul O Brien
The Failure and Success of Multimedia - Sean Cubitt
Abstract Virtual Realism - Nik Williams
Beyond Film & Television-whose Consciousness is it Anyway? - Clive Myer
Chimera for the 21st Century: Mis-Construction as Feminist Strategy - Terry Gips
Preface
The articles in this book are representative of over a hundred papers presented at the Second International CAiiA Research Conference, Consciousness Reframed: art and consciousness in the post-biological era , which was convened at the University of Wales College, Newport (UWCN) in August 1998. CAiiA, the Centre for Advanced Inquiry in the Interactive Arts, was established at UWCN in 1994 to research and advance new fields of practice emerging from the convergence of art, science and technology; fields in which questions of the mind and consciousness play an important part. In tandem with CAiiA, STAR - the Centre for Science, Technology and Art Research - was created in the School of Computing at the University of Plymouth in 1997. CAiiA-STAR operates as an integrated centre of research, pooling the considerable resources of both universities, and has attracted to its doctoral and postdoctoral research programmes artists who are amongst the principal proponents of their field .
The work of CAiiA-STAR embodies artistic and theoretical research in interactive media and telematics, including aspects of artificial life, telepresence, immersive VR, robotics, non-linear narrative, computer music, intelligent architecture involving a wide range of technological systems, interfaces and material structures. As such it can be seen as a microcosm of a widely based and complex field which is developing internationally. While this means that a great diversity of issues are addressed, it is possible to discern a common thread in the emergent discourse of this field. This commonality of ideas embraces a radical rethinking of the nature of consciousness, awareness, cognition and perception, with mind as both the subject and the object of art.
The CAiiA-STAR conferences have attracted speakers from Australia, Austria, Brazil, Canada, Ecuador, France, Germany, Holland, Hong Kong, Ireland, Israel, Italy, Japan, Malaysia, New Zealand, Norway, Poland, Romania, Spain, Sweden, Switzerland, the USA as well as the United Kingdom. This widespread response supports the contention that issues of mind and consciousness are significant in contemporary thinking about art and technology. In turn, the intensity and fecundity of work produced in this context, and the debates it engenders, insist that the conference be convened on an annual basis.
The approaches represented here are multidisciplinary and multicultural, offering many dynamic, compelling and provocative strategies, projects and lines of inquiry. Their purpose has been to identify key questions rather than to provide definitive answers, to pursue creative implications rather than prescriptive explanations.
Introduction
To most readers it will seem to be no more than a truism to say that issues of consciousness are at the top of the agenda in art today. Surely, it will be argued, art has always been concerned with conscious experience, and with matters of sensation, perception, and cognition; it has always dealt with what is seen, felt and understood, and has always made objects to be seen, felt and understood. Who, if not the artist, explores the mystery of being, and what, if not a work of art, articulates the rich quality of human sensibility? Equally, it would seem to be nothing but perverse to suggest that it is technology, particularly computer technology, that has brought consciousness into particular focus in the art of today. Many will find it difficult to see how technology, apparently cold and alienating, could do anything to advance the subtlety of feeling and vision that art has always demanded.
Historians, however, will know that technology, whether in the form of engineering, chemistry, optics, or pharmacology, has always mediated the vision and aspirations of artists in all parts of the world and at all times. And observers of contemporary culture will c