By Roy Ascott
This quantity constructed from the reports released in Roy Ascott's hugely profitable Reframing cognizance, documenting the very newest study from these hooked up with the CAiiA-STAR centre and its linked meetings. Their paintings embodies inventive and theoretical study in new media and telematics together with elements of synthetic lifestyles, robotics, technoetics, functionality, computing device tune and clever structure, to growing to be overseas acclaim. inside of a technological context, those chapters tackle modern theories of attention, subjective adventure and which means. the focal point is either on and past the electronic tradition, assimilating new rules from the actual sciences when embracing non secular and inventive facets of human event.
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Extra info for Art, Technology, Consciousness: Mind @ Large
A Typographic Version of Marcel Duchamp’s Green Box. Translation: G. H. Hamilton. New York: Jaap Rietman. Hayles, N. 1999. Critical Inquiry, Volume 26, Number 1, Simulating Narratives Jarry, A. 1965. Selected Works of Alfred Jarry. Edited by Roger Shattuck and Simon Watson Taylor. html Novak, M. 1998. ‘Next Babylon: Accidents to Play In’, in The Art of the Accident, V2 Exhibition Catalogue Seaman, B. & May, G. 1995-98. The World Generator/The Engine of Desire. Virtual World construction system.
Faustrol, Pataphysician. Jarry developed an interesting set of ideas concerning a new science within this self-proclaimed ‘Neo-Scientific’ novel. In this fiction Jarry presents the following definition of Pataphysics: An Epiphenomenon is that which is superinduced upon a phenomenon… Pataphysics… is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending far beyond metaphysics as the latter extends beyond physics. Ex: an epiphenomenon being often accidental, pataphysics will be, above all, the science of the particular, despite the common opinion that the only science is that of the general.
Html 43 Art, Technology, Consciousness Notes 1. Marcel Duchamp, aware of Jarry’s work also articulated a ‘playful physics’ (Duchamp, 1989, p. 49) in his notes to The Large Glass (1915–1923). Here Duchamp describes a ‘frictionless sled’ among other relations. Hamilton’s work entitled A Typographic Version by Richard Hamilton of Marcel Duchamp’s Green Box (Hamilton, 1960) presents a number of such notes related to a ‘playful physics’. 2. See N. Katherine Hayles How We Became Posthuman: Virtual Bodies in cyberspace, Literature and Infomatics (Chicago, 1999) for an in depth discussion of human/computer relations.
Art, Technology, Consciousness: Mind @ Large by Roy Ascott