Actor & Avatar: A Scientific and Artistic Catalog

What kind of relationship do we have with artificial beings (avatars, puppets, robots, etc.)? What does it mean to mirror ourselves in them, to perform them or to play trial identity games with them? Actor & Avatar addresses these questions from artistic and scholarly angles. Contributions on the making of "technical others" and philosophical reflections on artificial alterity are flanked by neuroscientific studies on different ways of perceiving living persons and artificial counterparts. The contributors have achieved a successful artistic-scientific collaboration with extensive visual material

The hidden influence:Exploring presence in human-synthetic interactions through ghostbots

Presence is a palpable sense of space, things and others that overlaps with matters of meaning, yet is not reducible to it:it is a dimension of things that hides in plain sight. This paper is motivated by observations that (1) presence is underappreciated in questions of modern and nascent human-synthetic agent interaction, and (2) that presence matters because it affects and moves us. The paper’s goal is to articulate a multi-faceted understanding of presence, and why it matters, so the importance of presence may be readily understood by those who regulate media, digital and artificial intelligence (AI) industries. Novel forms of presence raise all sorts of questions of what it means to live with new forms of presences. Some of these are highly positive and others are resistant to simplistic moral diagnosis, a point explored through extended consideration of ‘thanatechnology’ and ‘ghostbots’. To clarify and foreground presence, this paper draws on continentalphilosophy and technologist ideas about presence to understand the significance and parameters of presence. It then puts these to work by considering a range of existing and emerging human-synthetic agent interactions, arguing that that presence is an underappreciated yet crucial factor in human-synthetic interactions, particularly involving AI and ghostbots.The paper concludes with points of focus for organisations charged with media, data protection and AI governance regarding facets of presence-based characteristics for emergent human-synthetic interaction. Foremost is consideration of open standards for a presence-based afterlife and suggestion of a temporal firewall, or a break of time before resurrection, to prevent harm to those who have recently lost someone

Mixed Reality Images: Trilogy of Synthetic Realities III

The interplay of physical reality and digital media technologies is getting enhanced by new interfaces. The age of hyper-reality turns into the age of hyper-aesthetics and immersive image technologies - like mixed reality - enable a completely novel form of interaction and user relation with the virtual image structures, the different screen technologies, and embedded physical artefacts for interaction. "Mixed Reality Images" contributes to the wide range of the hyper-aesthetic image discourse to connect the concept of mixed reality images with the approaches in modern media theory, philosophy, perceptual theory, aesthetics, computer graphics and art theory as well as the complex range of image science. This volume monitors and discusses the relation of images and technological evolution in the context of mixed reality within the perspective of an autonomous image science

The female body, technology and performance : performing a feminist praxis

This research project examines the relationship between the female body and technology and analyses how contemporary artists are exploring the creative and political potential of technologies within their performance practice. By interrogating the culturally constructed gendering of technologies and theories of the female body through contemporary feminisms, this study shows how by working against existing patriarchal structures surrounding bodies and technology female artists are developing a technologised feminist praxis. The artists that I focus on throughout this thesis acknowledge, challenge and attempt to subvert dominant and conventional applications of the technologies, and therefore I read their work as feminist. This study analyses a range of types of technology and their applications in contemporary performance practice including: immersive technologies, digital and analogue technologies, the Internet, biotechnologies and cyborg technologised performance. Within each of these chapters the technologies are analysed in relation to the performing female body and I apply critical theory to enable me to read these works as “hybrid” and as illustrative of artists working within a “cyborg consciousness” to explore alternative political modes. This project is informed by the work of cultural critic and feminist theorist Donna J. Haraway whose “Cyborg Manifesto” (1985) altered the landscape of feminist discussions surrounding the technologised female body. Her utopian manifesto evokes the cyborg as a creature of social fiction and social reality and calls for a re-coding of bodies and approaches to political thinking. I argue in this thesis that the artists I am investigating attempt a re-coding of female bodies and of existing gender conventions surrounding bodies and technology to develop a new cyborg feminist praxis

What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games: Revised and Commented Edition

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? The author examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, the author argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

Identity Manipulation: Responding to Advances in Artificial Intelligence and Robotics

Advances in artificial intelligence (AI) and robotics technologies have destabilized our ability to control our identity. Today, it is increasingly accessible for the average person to appropriate the voice, image, and body of another individual through the use of technology. Deepfake videos swap new faces into existing videos, facial re-enactment allows for the face of one person to be superimposed on the face of someone else in a real time video, artificial speech synthesis can clone another person’s voice, and 3D printing and modern robotics can reproduce life-size copies of living people. These are all examples of the ways technology is being used to replicate aspects of people’s identity, sometimes without their consent. Once limited to the hands of computer-generated image specialists and robotics professionals, the barriers to accessing these technologies are quickly being removed. By scrapping audio-visual data from digitally available sources or purchasing robotics parts on the global marketplace, even hobbyists and amateurs are able to experiment with many of these technologies and create content representing another person. While many of these technologies are in their infancy and are not yet successfully producing perfect replicas, there have already been examples wherein this technology has produced convincing copies of aspects of the targeted individual that have effectively fooled other people.10 As these technologies become more user friendly, less expensive, and produce more realistic content, it is imperative that we explore the law’s role in protecting an individual’s identity from these types of identity manipulation.To explore these issues, this paper will first discuss why an individual’s identity, particularly representations of their image and voice, are increasingly relevant in our current society. Second, it will cover some existing technologies to illustrate the ways that identities are being manipulated through artificial intelligence and robotics, and highlight some aspects of their production that may be relevant when applying legal protections. Third, it will explore the economically focused torts of appropriation of personality and publicity rights in common law Canada and the United States, respectively, as well as dignity focused personality and image rights in the civil law systems of Germany and Québec. Fourth, it will argue that legal solutions to identity violations should include more of a dignity focused approach that takes a broad understanding of identity to protect people’s identities from being harmed by misuses of this technology

Virtual Reality Aesthetics and Boundaries in New Media Art Practices

This dissertation maps out the epistemological and political coordinates of contemporary Virtual Reality (VR) aesthetics through a hybrid inquiry that combines conventional academic research practices with artistic experiments. Since its inception, both conceptually and technologically, VR has emerged as a model for a techno-utopic paradigm that seeks to construct an autonomous image not only from the mediation of artist, but also from the material, spatial, and by extension social and political determinations of reality. With the differences in the formal techniques and strategies of each instance of the media constellation that this teleological paradigm conglomerates such as cinema, early proto-cinematic devices, stereoscopic 3D, and cybernetics, the objective is always the same: to develop an immediate and autonomous interface shorn of limitations configured according to the subjective and bodily conditions of the viewer. In both practice and theory this dissertation attempts to problematize the question of autonomy and by extension heteronomy, which have been distributed in a binary opposition in 20th century artistic practices. I contend that aesthetic practices emerge within the dynamic and interlocked relation between heteronomy and autonomy. Neither artistic practices nor image technologies are autonomous from the political and historical context in which they became possible both technologically and conceptually. Moreover, I argue that artistic practices become critical insofar that the question of autonomy appears sensibly as a problem. Through a threefold inquiry on the question of autonomy and heteronomy, this dissertation has aimed to problematize the very context that made it possible. First, I problematized the autonomy of art purported to be the grounding gesture of the critical nature of research-creation; second, the autonomy purported to be inherent to VR as an immersive and interactive image technology was called into question; and third, as the extension of the second, I problematized the autonomy of the viewer and virtual images in the VR experience that constitutes the artistic experiment component of the dissertation

What is the Avatar?

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? Rune Klevjer examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, Klevjer argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch

Dance performance in cyberspace - transfer and transformation

The aim of this research undertaking is to understand the potential development of dance performance in the context of cyberculture, by examining the way practitioners use new media to create artworks that include audience participation, and by endeavouring in their theorization. With specific reference to cyberspace as a concept of electronic, networked and navigable space, the enquiry traces the connections such practices have with conventions of the medium of dance, which operate in its widely known condition as a live performing art. But acknowledgement that new media and new contexts of production and reception inform the characteristics of these artworks and their discursive articulation, in terms of the way people and digital technologies interact in contemporary culture, is a major principle to their analysis and evaluation. This qualitative research is based on case-study design as a means of finding pragmatic evidence in particulars, to illustrate abstract concepts, technological processes and aesthetic values that are underway in a new area of knowledge. The field where this research operates within is located by a mapping of published literature that informs a theoretical interdisciplinary framework, which contextualizes the interpretation of artworks. The selected case studies have been subject to a process of systematic and detailed analysis, entailed with a model devised for the purpose of this enquiry. From this undertaking it can be claimed that while an extensive array of technologies, media and interactive models is available in this field, the artists pursue a commitment to demonstrate their worth for specifically developing (new media) dance performance, and for dance performance to articulate technological and critical issues for cyberculture studies. The results of this enquiry also contribute to conceptual understanding of what dance can be, today, in the light of technological changes