Silent Light, Luminous Noise: Photophonics, Machines and the Senses

This research takes the basic physical premise that sound can be synthesized using light, explores how this has historically been, and still is achieved, and how it can still be a fertile area for creative, theoretical and critical exploration in sound and the arts. Through the author's own artistic practice, different techniques of generating sound using the sonification of light are explored, and these techniques are then contextualised by their historical and theoretical setting in the time-based arts. Specifically, this text draws together diverse strands of scholarship on experimental sound and film practices, cultural histories, the senses, media theory and engineering to address effects and outcomes specific to photophonic sound and its relation to the moving image, and the sculptural and media works devised to produce it. The sonifier, or device engendering the transformations discussed is specifically addressed in its many forms, and a model proposed, whereby these devices and systems are an integral, readably inscribed component - both materially and culturally - in both the works they produce, and via our reflexive understanding of the processes involved, of the images or light signals used to produce them. Other practitioners' works are critically engaged to demonstrate how a sense of touch, or the haptic, can be thought of as an emergent property of moving image works which readably and structurally make use of photophonic sound (including the author's), and sound's essential role in this is examined. In developing, through an integration of theory and practice, a new approach in this under-researched field of sound studies, the author hopes to show how photophonic sound can act as both a metaphorical and material interface between experimental sound and image, and hopefully point the way towards a more comprehensive study of both

Quantum Ecologies in Cosmological Infrastructures: A Critical Holographers Encounters with the Meta/Physics of Landscape-Laboratories

Quantum Ecologies interrogates the role of physics in the construction of an indifferent and disenchanted universe. It explores conceptual resonances within and between new materialism, Indigenous philosophy of place, science fiction, and art. Quantum Ecologies recognizes that the world is alive and wise and considers relevant modes of responsible address within and as the Earth. Through theoretical and historical analysis, site based research and a/v installation Quantum Ecologies has developed the heuristic of the ‘holographic’ as a way to attend to the multi-temporal, co-present, and multi-scalar pluralities and layers of knowing, agency, and landscape. This feminist, anti-colonial art-science framework for critically engaging (physics) sites and philosophies addresses the scientific cosmology of the West that (inadvertently) legitimates the exploitation, dispossession, and extraction of Earthly beings and bodies. Holography as critical interferometry is applied to experimental sites and assemblages known as ‘landscape-laboratories’ as a mode of both reading and (re)writing them. My field/work has taken place in remote environmentally protected sites that are entangled and instrumentalized as cosmological sensing arrays, experimental nuclear fusion energy, or dark matter particle physics laboratories in Russia, France, the UK, Germany, and Canada. By thinking through the strangeness of these planetary quantum assemblages alongside sciences inheritances and genealogies in magic, alchemy, and mysticism I argue for the necessity of ‘another science’ that is situated, compassionate, and responsible. Quantum Ecologies proposes a plural, poly-perspectival assessment of place, where accounting for the promiscuous more-than of materials, sites, forces, and energies is a necessary and continuous (re)configuring of meta/physics and respectful anti-colonial engagement with Land

Proceedings of the 9th Arab Society for Computer Aided Architectural Design (ASCAAD) international conference 2021 (ASCAAD 2021): architecture in the age of disruptive technologies: transformation and challenges.

The ASCAAD 2021 conference theme is Architecture in the age of disruptive technologies: transformation and challenges. The theme addresses the gradual shift in computational design from prototypical morphogenetic-centered associations in the architectural discourse. This imminent shift of focus is increasingly stirring a debate in the architectural community and is provoking a much needed critical questioning of the role of computation in architecture as a sole embodiment and enactment of technical dimensions, into one that rather deliberately pursues and embraces the humanities as an ultimate aspiration

Skyler and Bliss

Hong Kong remains the backdrop to the science fiction movies of my youth. The city reminds me of my former training in the financial sector. It is a city in which I could have succeeded in finance, but as far as art goes it is a young city, and I am a young artist. A frustration emerges; much like the mould, the artist also had to develop new skills by killing off his former desires and manipulating technology. My new series entitled HONG KONG surface project shows a new direction in my artistic research in which my technique becomes ever simpler, reducing the traces of pixelation until objects appear almost as they were found and photographed. Skyler and Bliss presents tectonic plates based on satellite images of the Arctic. Working in a hot and humid Hong Kong where mushrooms grow ferociously, a city artificially refrigerated by climate control, this series provides a conceptual image of a imaginary typographic map for survival. (Laurent Segretier

Art, academia, and culture before the challenges posed by the new emerging events and technologies of the 21st century: evolution and adaptation

668 p.The advent of the many emerging crises of our time, and of the manyemerging technologies that are set to define the short-term future, pose aseries of challenges that could heavily disrupt social and economic structures worldwide if they are not addressed in a sensible and timely manner. This research project aims to analyze and expose how the artistic, academic, and cultural disciplines could adapt and evolve in the face of this situation, withthe goal of generating a knowledge base that could be utilized to progressively redefine said disciplines in a way that would allow them to help our species overcome the challenges posed by the future in a significant manner. The data for this project was collected through the qualitative study and cross-analysisof hundreds of relevant articles and studies.This study unveils that these emerging challenges are extraordinarily intricate and dangerous in nature, and uncovers that their root cause resides inthe continued inability of our species to reconcile its tribal legacy with theever-evolving nature of technology, concluding that contemporary societies arecritically underprepared to handle these challenges sensibly. Possible solutionsto this situation determined by this project include the proposal for aredefinition of the artistic, academic, and cultural disciplines conducted intune with our tribal nature and the nature of technology that makes use ofsocial networking structures based on the patterns that define naturallyoccurring evolutive emergent systems to reconcile said natures.Other themes analyzed by this study include the relevance of the artisticmindset as a vital aspect of the human being, the necessity of sensibly democratizing the new emerging technologies, and the potential occurrence of an evolutive emergent in the foreseeable future as a consequence of humaninteraction and organizational complexity reaching a sustained critical mass.These findings indicate the need for the realization of a progressiveredefinition of the artistic, academic, and cultural disciplines conducted intune with our tribal nature and the nature of technology, as well as the need for the immediate recognition and addressing of the many emerging challenges of ourtime by the international community

The Persistence of Minimalism

The following work develops a new and general theory of minimalism – one addressing both its transhistorical and interdisciplinary dimensions, and capable of accounting for existing minimalism of every epoch and in every medium, while suitably open to embrace minimalist work yet to be created. To offer such a theory it is necessary not only to revisit the histories of minimalist practice and criticism, but also to consider its radical philosophical ground and implications. Hence its principal thesis – that minimalism exemplifies the persistence and facticity of the Real – grapples at once with the ontological heart of minimalist theory, and its practical instantiation through canonical as well as rarely considered examples. Divided into three parts, the first part addresses minimalism as the manifestation of particular aesthetic properties in relation to critical and theoretical trends. Since it becomes apparent that no single descriptive or theoretical account adequately frames minimalism, the discussion turns to the possibility of discovering a philosophical ground equally radical to the minimalist objects it addresses. The Real – an indifferent field of forces from which contingent entities are subtracted from within an irreversible temporal passage – offers precisely this radical continuum. Minimalism, by exposing the continuity between radical poiesis and an essentially quantitative understanding of Being, clarifies the indifferent persistence of the Real in every existential situation. Penetrating to the heart of this proposition, parts two and three respectively address minimalism in terms of its quantitative logic of Being – every exemplary subtraction from which is instantiated a type of existential calculation – and its exemplary aesthetic manifestation in terms of an existential transumption – a constructive poietic displacement by which minimalism renders itself maximally intelligible in terms of its objecthood and persistence. The work concludes with a typology which reorients and confirms the substance of the preceding argumentation