201 research outputs found

    Characterizing resources in ubimus1 research: Volatility and rivalry

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    In this paper I identify three methodological approaches to creativitycentered design: the computational approach, the dialogical perspective and the ecologically grounded framework. And I analyze how these three methods relate to a current definition of the ubiquitous music field (ubimus). Social interaction is one of the factors to be accounted for in ubimus experimental studies. I propose the label social resources for the shared knowledge available within a community of practice. I identify five aspects of creativity-centered design that have targeted social resources. Then I discuss material resources as factors to be considered for the design of ubimus ecosystems and present two new design qualities as variables for experimental studies: volatility and rivalry. This discussion is framed by a split between creative products and creative resources which points to three observables: material resources, material products and material by-products, including creative waste. I conclude with a summary of the main proposals of the paper and point to applications of these concepts in experimental design studies

    From alchemy to Artaudian 'digital double' : a practical exploration in digital scenography

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    This research seeks to better understand the position of the contemporary stage phenomenon ‘The Digital Double’ within the theories of Antonin Artaud. This phenomenon can be defined as; the mediated form, or presence, of a physical performer, generated upon the stage. Within the context of this study ‘The Digital Double’ has existed as an infrared generated digital entity.This investigation has been undertaken utilising the methodology of Practice as Research and has accumulated a number of performative artefacts prominently featuring the use of ‘The Digital Double’ in order to establish a tacit understanding of the theories of Artaud. I shall be drawing upon interviews conducted with the performers and in order to enrich my understanding of the interactive process within their experience performing alongside ‘The Digital Double’.The practical research of this thesis has been contextualised alongside a thorough examination of Artaudian literature; scenographic theory and the work of fellow practitioners of interactive technology. I have also carried out a brief examination of the Alchemical philosophy in order to elicit a greater understanding of the inspiration of Artaud.Throughout the duration of this research, I argue that the role of technologists researcher is akin to that of Artaudian ‘Producer’. I argue that the ‘Digital Double’ as a contemporary stage phenomenon engages with the core concepts of Artaud’s theatrical model. Through an exploration of the metaphor of Alchemy a deeper understanding of Artaud's theories and inspiration is generated; from this, we can sit ‘The Digital Double’ and strengthen its position as an Artaudian theatrical device

    Communicating the Unspeakable: Linguistic Phenomena in the Psychedelic Sphere

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    Psychedelics can enable a broad and paradoxical spectrum of linguistic phenomena from the unspeakability of mystical experience to the eloquence of the songs of the shaman or curandera. Interior dialogues with the Other, whether framed as the voice of the Logos, an alien download, or communion with ancestors and spirits, are relatively common. Sentient visual languages are encountered, their forms unrelated to the representation of speech in natural language writing systems. This thesis constructs a theoretical model of linguistic phenomena encountered in the psychedelic sphere for the field of altered states of consciousness research (ASCR). The model is developed from a neurophenomenological perspective, especially the work of Francisco Varela, and Michael Winkelman’s work in shamanistic ASC, which in turn builds on the biogenetic structuralism of Charles Laughlin, John McManus, and Eugene d’Aquili. Neurophenomenology relates the physical and functional organization of the brain to the subjective reports of lived experience in altered states as mutually informative, without reducing consciousness to one or the other. Consciousness is seen as a dynamic multistate process of the recursive interaction of biology and culture, thereby navigating the traditional dichotomies of objective/subjective, body/mind, and inner/outer realities that problematically characterize much of the discourse in consciousness studies. The theoretical work of Renaissance scholar Stephen Farmer on the evolution of syncretic and correlative systems and their relation to neurobiological structures provides a further framework for the exegesis of the descriptions of linguistic phenomena in first-person texts of long-term psychedelic selfexploration. Since the classification of most psychedelics as Schedule I drugs, legal research came to a halt; self-experimentation as research did not. Scientists such as Timothy Leary and John Lilly became outlaw scientists, a social aspect of the “unspeakability” of these experiences. Academic ASCR has largely side-stepped examination of the extensive literature of psychedelic selfexploration. This thesis examines aspects of both form and content from these works, focusing on those that treat linguistic phenomena, and asking what these linguistic experiences can tell us about how the psychedelic landscape is constructed, how it can be navigated, interpreted, and communicated within its own experiential field, and communicated about to make the data accessible to inter-subjective comparison and validation. The methodological core of this practice-based research is a technoetic practice as defined by artist and theoretician Roy Ascott: the exploration of consciousness through interactive, artistic, and psychoactive technologies. The iterative process of psychedelic self-exploration and creation of interactive software defines my own technoetic practice and is the means by which I examine my states of consciousness employing the multidimensional visual language Glide

    Skyler and Bliss

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    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

    Master of Fine Arts

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    thesisThe questions posed in this research involve the massive effects of the cyberrevolution on the human experience of embodiment and identity formation. Our technologies have begun to merge with the human body in new and unforeseen ways, from the development of smartphones, to new advances in Internet technologies, to the motion capture gaming systems of KINECT infrared cameras. This revolution has affected fields as wide-ranging as dance, gender studies, digital technologies, media studies, music, the visual arts, economics, and socio-anthropology. The hybridity of digital self and corporeality is permeating all aspects of life, from the growing use of projections in music and dance performances to the many permutations of human identity online on sites like Facebook or Twitter. For this research, I have focused on the effect of digitally interactive performance media in the field of dance, and how the performing human body-mind is impacted by virtual spaces and digital performance practice. With a focus on my own work (from digitally integrated live performances like the words we missed to screendance films like we walk blood earth) and the creative work of other dance artists, I've tried to investigate this constantly shifting dialogue between the human body and our digital counterparts. In my creative research with dancers, I've become aware that the ripples of what might be called "active digital translation" are being felt across disciplines and impacting human race, the spiraling, outward momentum of technological innovation. I've posed the questions: can the integration of digital technologies in the practice and performance of dance result in a different kind of embodiment and identity formation, one that meshes the physical and the virtual into an aesthetically, politically, and kinesthetically new sensation? What are the implications of this for the dance field, for performers of the physical arts, and for our corporal bodies within society? I have found that this newfound potential for identity formation, virtuosic transformation, and digital embodiment in the cyber age has put forth many exciting and challenging prospects for the human body
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