The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

Design by Play:Playfulness and Object-Oriented Philosophy for the design of IoT

The Internet of Things (IoT) has garnered heightened interest and momentum in recent years. These connected devices have extended the concurrent rise of data collection and processing within the everyday objects that cohabit our human lives. Though technology has always changed the way we live our lives these ‘smart’ devices are adding new challenges—particularly concerning privacy and security—not previously experienced when using their older ‘dumb’ predecessors. These challenges are not always apparent to their human cohabitors and often only come to the fore when something untoward happens as a consequence of the data being collected. These objects are not to blame, they exist in their worlds governed by their own rules established by their creators rather than their users. Designers have traditionally been taught to present these objects as neutral participants in our human lives; there to help, but not supersede. However, these objects exist within many independent and interdependent assemblages of human and non-human actants that go beyond the previously experienced human-object relationship. Through this discourse, I highlight the overall aim of this thesis to ask questions around our traditional practices of design concerning IoT. In particular, this research strives to do many things: it attempts to intertwine philosophical debate with the act of design; it moves towards an argument of rethinking design orthodoxies around human-centeredness in favour of object-oriented-ness; it explores an alternative side to the phenomenon of the IoT, arguing for agency in a post-anthropocentric perspective of the world and its implications; it tries to bridge the gap between practice-based design research and theory by passing through a veil of philosophical intrigue. But at its core, is an advocacy for the presence of a playful attitude within the practice of design, arguing for an attitude of playfulness as an integral part of the design process. How being playfully charged to create artefacts can usher in unique perspectives for design and technology. The research is enacted through an iterative Research through Design ideology, using a transdisciplinary approach of Ludic and Speculative Design practice that explore alternative perspectives towards the design of IoT. It is conducted through an exploration of Object-Oriented Philosophy as a means to enact a metaphorical ‘carpentry’ of artefacts that practice philosophical arguments through their execution. In the process of designing three artefacts—a model for a philosophical view of IoT, a board game, and a bespoke deck of tarot cards—this research builds upon the idea of More-than Human-Centeredness for the design of IoT, by introducing the creation of bespoken method assemblages as a means for playful design exploration. It concludes on a debate around the implications and potential of design thinking in a post-anthropocentric perspective through the inclusion of playfulness and philosophy as assets for design, and, the use of philosophical carpentry as a methodology for understanding the nebulous nature of IoT

Ambivalent animal

The Ambivalent Animal project explores the interactions of animals, culture and technology. The project employs both artistic practice and critical theory, each in ways that inspire the other. My creative practice centers around two projects that focus on domestic pets. These projects highlight the animal's uncertain status as they explore the overlapping ontologies of animal, human and machine. They provide concrete artifacts that engage with theoretical issues of anthropocentrism, animality and alterity. My theoretical work navigates between the fields of animal studies, art and design, media and culture studies, and philosophy. My dissertation explores animality through four real and imagined animal roles: cyborg, clone, chimera and shapeshifter. Each animal role is considered in relation to three dialectics: irreducibility and procedurality, autonomy and integration, aura and abjection. These dialectics do not seek full synthesis but instead embrace the oscillations of irresolvable debates and desires. The dialectics bring into focus issues of epistemology, ontology, corporeality and subjectivity. When the four animal roles engage the three dialectics, connected yet varied themes emerge. The cyborgian animal is simultaneously liberated and regulated, assisted and restricted, integrated and isolated. The cloned animal is an emblem of renewal and loss; she is both idealized code and material flesh and finds herself caught in the battles of nature and nurture. The chimera is both rebel and conformist; his unusual juxtapositions pioneer radical corporeal transgressions but also conform to the mechanisms of global capital. And the shapeshifter explores the thrill and anxiety of an altered phenomenology; she gains new perceptions though unstable subjectivity. These roles reveal corporeal adjustments and unfamiliar subjectivities that inspire the creative practice. Both my writing and making employ an ambivalent aesthetic--an aesthetic approach that evokes two or more incompatible sensibilities. The animal's uncertain status contributes to this aesthetic: some animals enjoy remarkable care and attention, while others are routinely exploited, abused and discarded. Ambivalence acknowledges the complexity of lived experience, philosophical and political debate, and academic inquiry. My approach recognizes the light and dark of these complex ambivalences--it privileges paradox and embraces the confusion and wonder of creative research. Rather than erase, conceal or resolve ambiguity, an ambivalent aesthetic foregrounds the limits of language and representation and highlights contradiction and irresolution.Ph.D.Committee Chair: Bolter, Jay; Committee Member: DiSalvo, Carl; Committee Member: Do, Ellen; Committee Member: Prophet, Jane; Committee Member: Thacker, Eugen

Towards the Affect of Intimacy

Abstract This thesis explores the trajectory that the developing technological fields of Ambient Intelligence and Persuasive Technologies introduce new intricate relationships beyond fundamental use and availability because they change our abilities to act. Since its classic articulation by Hegel (1927) philosophical explication of the relationship between people and technology states that technology is a mediating factor between people and the world. Associated with this view, which has characterized the resulting phenomenology and philosophy of technology for nearly two decades, is an understanding of technology as a form of alienation. In this dissertation the author shows how this old interpretation of the relationship between a person and their tool has emphasized how the person is active whilst the tool is passive. This traditional distinction fails to grasp the complex interaction between people and technology in the contemporary world. The nature of new technologies and novel theoretical work in this field suggests that this critical framework is now inadequate. Today, technology mediates the relationship between people and the world in increasingly complex and often collective ways. McLuhan (1967) stated: “Media evoke in us unique ratios of sense perceptions. The extension of any one of these senses alters the way we think and act”. As Greenfield (2006) and Fogg (2002) also posit, certain Ambient Intelligence and Persuasive Technologies are in-principle shaping everyday human behaviours in radically new ways. In particular, I explore how new technologies like those developed in the Artificial Companions Project can impact on our understanding of intimacy and identity. Indeed, Ambient Intelligence Technologies may play the role of reference groups (Shibutani 1987), groups who are real or imaginary and whose standpoints are being used as the frame of reference for the human actor. Given that these technologies have continuously reconfigured identification and profiling practices, this analysis rephrases insight of philosophers like Paul Ricoeur (1990), George Herbert Mead (1959) and Helmuth Plessner (1975) to trace how: The construction of our identity is mediated by how we profile others as profiling us. Thus, new technologies can become reference groups, encroaching on our everyday activities and even affecting our moral decision-making processes. As genuine upgrades of our practical space, they are destined to play a larger formative role in people’s lives in the future. Following Heidegger in Das Ding (Heidegger 1951), Latour once framed the wider social role of technologies as res publica or ‘public things’ (Latour 2005). He pointed out that the old German word ‘ding’ etymologically did not only infer ‘material object’ but also to assembly as gathering space - that thing that can bring together what it separates. Following Latour, Verbeek states that technological ‘things’ do not only mediate our existence, but are places where these mediations are made explicit – therefore, Verbeek argues, they are the places where people have to start to discuss and criticise the quality of the ways in which these ‘things’ help to shape our daily lives (Verbeek 2008). This thesis attempts to offer a new approach to this criticism through theoretical comparison and transdisciplinary analysis

Association of Architecture Schools in Australasia

"Techniques and Technologies: Transfer and Transformation", proceedings of the 2007 AASA Conference held September 27-29, 2007, at the School of Architecture, UTS

The Proceedings of the Fourth International Conference of the Association of Architecture Schools of Australasia

The Proceedings of the Fourth International Conference of the Association of Architecture Schools of Australasia. Each paper in the Proceedings has been double refereed by members of an independent panel of academic peers appointed by the Conference Committee. Papers were matched, where possible, to referees in the same field and with similar interests to the authors