Autoscopic Space: Re-thinking the Limits Between Self and Self-Image

open access journalAn experimental installation project of my own making, the diplorasis, aims to re-think the human sensorium by considering the bodily perceptual boundaries that are induced by visual media processes. Within the installation space the participant will, unexpectedly, encounter stereoscopic projections of himself/herself from previous instances and multiple perspectives. The photographic cameras within the device that are attached to sensors have been programmed to capture different views of the moving participant, and then to digitally split (and in some cases manipulate) the images before sending them to screens that project the image for the participant’s view. These stereoscopic images induce an illusionistic three-dimensional projection of the subject. The reduplicated, projected, and three-dimensionally simulated self in the diplorasis begins to trigger a questioning of how the body is understood within visual media. During the visual experience one has a solipsistic perception of oneself. The participant views himself both from outside and inside his body. The out-of-body experience of observing oneself from the multiple points of view of another (as a simulated object) is somehow countered to the embodied operation of the physical binocular eyes. The uncanny closeness of a neutral image “out there” (e.g. of a house) evoked by the original stereoscopes is now subverted, as the digitization of the stereoscope allows for unexpected self projections of the viewer. The diplorasis brings to the fore a particular reading of a sensory body that veers between, on the one hand, a projected image generated by electronic information, and on the other, the embodied response to this projected spectral other. As electronic processes are changing the perceptual and cognitive limits of the body, how do these shift our understanding of inside/outside

E-topia: Utopia after the Mediated Body

open access journalA custom-made media installation, diplorasis, will be used to explore the body in digital media. This mediated body attempts to re-think how the Deleuzian time-image is translated from its cinematic confinement to the space of new media. In diplorasis the digitized time-image becomes more directly incorporated with-in the bodily schema. Consequently, the thinking of the virtual and actual space of the body in diplorasis enables a questioning of bodily space-time, and particularly the relation between self and digitized self-image. It is thus crucial to re-frame how this digitized mediated body is distinct from a conventional notion of a metric and habitual space—one that is reinforced by, for example, the medium of linear perspective. The articulation of the mediated body will be used to in-form and extend Elizabeth Grosz’s paradoxical reading of embodiment and utopia, by revisiting the notions of utopia as eu-topic/ou-topic. The spatio-temporality of the topos must be re-considered before utopia. Foucault’s analogy of the mirror will then serve to superimpose the dual and slippery relations between utopia and the heterotopic. The digitized mediated body will thus seek to explore emerging ways by which to consider the utopic by conflating embodiment, time and space within an electronic topos. It is argued that as the sensing and cognitive body becomes increasingly pliable in relation to technological mediations, our very understanding of space-time is changing

Folding and Doubling: Revisiting Freud’s Screen Memories

The cinematic medium, according to Deleuze, enabled a new way of 'seeing' by relocating perception from the human eye to an 'eye in matter'. This paradigmatic shift away from a perception 'anchored in the subject' allowed for the image to be thought anew

Bursting into the Image: Towards De-automatization in VR

The art installation Osmose (1995) by Char Davies, one of the most widely discussed media art projects, will be explored in relation to the notion of de-automatization. The de-automatized experience in Osmose will be developed by looking at theories of perception by Arthur Deikman and Maurice Merleau-Ponty, as well as George Stratton’s inverse goggle experiment, Bernard Stiegler’s account of automation, and Gilles Deleuze’s writings on the virtual. The article traces a double act of de-automatization in Davies’ Osmose that occurs due to the indeterminate object relations in the multi-media installation on the one hand, and their intertwinement with the organic sensing body on the other. This leads to an ungearing of one’s habitual perception, that produces a particular relation with the virtual dimension. By outlining the theoretical framework of the intertwining between technical object and bodily experience in Osmose, it becomes possible to speculate on the trajectory of contemporary VR experiences. Whilst the contemporary VR scene still relies heavily on the privileging of the visual dimension, the project We Live in an Ocean of Air by Marshmallow Laser Feast shows how VR environments can ‘leverage on’ emerging technologies to re-produce nuanced deautomatized experiences. De-automatization unravels how the reception of the deautomatized VR image reframes relations between actual and virtual

Image as a virtual construction

The shift in visual technologies from the early twentieth century understandings of interior vs. exterior and subject vs. object are radically different when compared to contemporary architectural media and the immersive environments that they suggest. The rethinking of the photographic medium as a digital construct can reveal its virtual potentials as an ‘architecture’ in and of itself. The digital technologies used in the custom-made optical device, the diplorasis, allow for a re-thinking of both architectural and photographic discourses, as they reveal their tendencies to converge with one another. This is important today because vision, and hence the body, is increasingly embedded within media environments. The self is multiplied within virtual domains that in turn affect the actual space of the corporeal body. In this respect, it is crucial to think how time-based media re-present our spatial environments and how this virtuality shifts the locus of the body and its limits to produce new understandings of interior/exterior, subject/object

Studies of new Higgs boson interactions through nonresonant HH production in the b¯bγγ fnal state in pp collisions at √s = 13 TeV with the ATLAS detector

A search for nonresonant Higgs boson pair production in the b ¯bγγ fnal state is performed using 140 fb−1 of proton-proton collisions at a centre-of-mass energy of 13 TeV recorded by the ATLAS detector at the CERN Large Hadron Collider. This analysis supersedes and expands upon the previous nonresonant ATLAS results in this fnal state based on the same data sample. The analysis strategy is optimised to probe anomalous values not only of the Higgs (H) boson self-coupling modifer κλ but also of the quartic HHV V (V = W, Z) coupling modifer κ2V . No signifcant excess above the expected background from Standard Model processes is observed. An observed upper limit µHH < 4.0 is set at 95% confdence level on the Higgs boson pair production cross-section normalised to its Standard Model prediction. The 95% confdence intervals for the coupling modifers are −1.4 < κλ < 6.9 and −0.5 < κ2V < 2.7, assuming all other Higgs boson couplings except the one under study are fxed to the Standard Model predictions. The results are interpreted in the Standard Model efective feld theory and Higgs efective feld theory frameworks in terms of constraints on the couplings of anomalous Higgs boson (self-)interactions

Model-independent search for the presence of new physics in events including H → γγ with s \sqrt{s} = 13 TeV pp data recorded by the ATLAS detector at the LHC

Abstract A model-independent search for new physics leading to final states containing a Higgs boson, with a mass of 125.09 GeV, decaying to a pair of photons is performed with 139 fb−1 of s $$\sqrt{s}$$ = 13 TeV pp collision data recorded by the ATLAS detector at the Large Hadron Collider at CERN. This search examines 22 final states categorized by the objects that are produced in association with the Higgs boson. These objects include isolated electrons or muons, hadronically decaying τ-leptons, additional photons, missing transverse momentum, and hadronic jets, as well as jets that are tagged as containing a b-hadron. No significant excesses above Standard Model expectations are observed and limits on the production cross section at 95% confidence level are set. Detector efficiencies are reported for all 22 signal regions, which can be used to convert detector-level cross-section limits reported in this paper to particle-level cross-section constraints

Search for neutral long-lived particles in pp collisions at √s = 13 TeV that decay into displaced hadronic jets in the ATLAS calorimeter

A search for decays of pair-produced neutral long-lived particles (LLPs) is presented using 139 fb−1 of proton-proton collision data collected by the ATLAS detector at the LHC in 2015–2018 at a centre-of-mass energy of 13 TeV. Dedicated techniques were developed for the reconstruction of displaced jets produced by LLPs decaying hadronically in the ATLAS hadronic calorimeter. Two search regions are defined for different LLP kinematic regimes. The observed numbers of events are consistent with the expected background, and limits for several benchmark signals are determined. For a SM Higgs boson with a mass of 125 GeV, branching ratios above 10% are excluded at 95% confidence level for values of c times LLP mean proper lifetime in the range between 20 mm and 10 m depending on the model. Upper limits are also set on the cross-section times branching ratio for scalars with a mass of 60 GeV and for masses between 200 GeV and 1 TeV. [Figure not available: see fulltext.