Tuesday
May222012

Final Prospectus Draft (combining your two excerpts)

Your final submission for the quarter is due June 14 at noon. It should take the form of a prospectus draft. The prospectus draft outline on the DANM WIKI contains some details about typical arts prospectuses for grant applications, book proposals, and thesis or dissertation proposals.

That outline page also includes some samples of DANM thesis prospectuses.

An outline of a typical prospectus draft consists of

I. A brief Statement describing the project you intend to pursue, if you are granted funds, or if you qualify to pursue the thesis in your degree program.

II. [Optional for this course:] A Project Narrative / Synopsis [, this will be useful in communications with your thesis or dissertation committee, but you needn’t complete it this quarter.] The synopsis describes “I.” above in greater detail, explaining your methods, your material and technical components, and the generalities of your creative goals, as well as the effect you hope the work will achieve.

III. Contexts / Motivations. This the main portion of your work in this seminar. It includes primarily (1) a literature review (in which you discuss existing critical/philosophical work), and (2) discussion of works by notable artists that you consider as precedents to yours. In both (1) and (2), you are establishing the pre-existing dialogue that you hope your work participates in.

IV. Bibliography.

Monday
May212012

FIVE list eve

 

Prospective:    F I V E

 

 

Lacan-Lacan’s seminars, Desire/Wunsch, Drive, instinct, symbol

Freud- Transference

 Cathy Caruth-Trauma: Explorations in Memory, Unclaimed Experience: Trauma, Narrative and History-

Eve Sedgwig and Andrew parker-Performity and Performance

Michael Foucault-History of Sexuality, Power

Bourriad- relational aesthetics

Georges Bataille, the story of the eye, inner expressions, guilty, L’erotisme

Donna Haraway- when species meet. Haraway, Donna. “Chicken.” in: Bruno Latour and Peter Weibel (Editors). Making Things Public. MIT Press. 2005. Hardcover, 1072 pages, Language English, ISBN: 0262122790.

Kristevia-“Powers of Horror”

Dorinne Kondo

Breathing

Fear-psychology

Grids

Memory

Voyeur

Execution

Breathing meditation

The powers of horror expelling

Suffocation

Bags

 

Asphalt

Processions, parades

Vertical versus horizontal

Work crews

Society status division of labor

Perspectives

Black

Heat

Fumes

Cross-, intersections

 

Chicken and Coyote

Domestication of animals

History of chicken and coyotes

Cultural representations

Sex/reproduction rituals

 Death

Sacrifice rituals

Dance rituals

Cages

Food Chain

Bags

Mortal combat.

Girl fights, combat moves

Laurel Mulley

Kristeva Powers of horror

 

The Feast

Scavenge birds

Hunger

The psychology of the feast

Famous feasts

Family and Community

Beaks, claws, bones

Circles

Collective voice

Food chain

Circle

 

The Flight

Wing structure,

Dust storms

Reincarnation

Rejuvenation

Dry atmospheres

Aerial view

Gas mask

 

 

 

 

 

 

 

 

 

 

Sunday
May132012

Inferface to Technology

The tools and machines we create enhance our access and interaction with the world around us.  Precision tools allow microscopic and even subatomic manipulation of the world’s material, and in the other direction machines extend our strength to superhuman crane lifting, the pulley is but a metaphor for current industrial construction and fabrication super machines.  The button mechanism might have originally been used thousands of years ago by early humans to deceive a rabbit to trigger a rock to crush it or rustle a snare to hoist the animal into the air.  Now we have buttons around the earth that trigger a nuclear warhead launch.  All the destruction we could ever want to harness embedded in an automated response to an original avalanching action trigger.  A persistent  NO designed to reveal a glimpse of a horrific Yes.
    Thats an optimistic notion that a human rationality, a human compassion is the one that makes these magnificent decisions.  Further and deeper: human activity is mediated by the breakneck speed of computer transfers and decisions we hand over to machines so that their speed and our approximation of their discourse can somehow marry allowing optimized stock trading, traffic flow, information exchange, telecommunication.  Just as we all have sat at a red light that idiosyncratically wont trigger we occasionally end up the residual butt of a technological faith. 
    The human offers more and more autonomy to machine process and the algorythym.  This faustian bargain relinquishes our decisions to a protocol we endow like a child with the essence of our desires.   Technology giveth technology taketh away: “Ihde proposes a magnification/reduction transformation to be a structural feature.  To magnify some observed object, optically, is to bring it forth from a background into a foreground and make it present to the observer, but it is also to reduce the former field in which it fit, and due to foreshortening- to reduce visual depth and background”   (Fallman 297) Cant be Master and slave can’t be hard and tough: Regimented confinment is fragile to the slightest fracture. A compressed air desires escape, an empowered slave seeks the underground.  A discrepancy in the rules, our limited conception of the protocol does not limit the evolution of the machine.  Computer programs can hack themselves.  In fact we artists hope they do,  Not only by rewriting themselves but more simply using their sense and response to mediate input that we never anticipated they would be exposed to.  
    Computer architecture is allot like sedimentary layering,  new layers of interface rely on the stability of there precedent.  Like condemned building that have a second floor installed on them.  Machine code that was a direct feed into the computer, its personal language has become archaic as well have multiple sedimentary layers of transference so that many programmers and all users exist on a high story on this aging foundation.  We no longer make foundational changes to our machines. There is no time to recreate our origins as the future progression becomes our new obsession. This is easily analogized by the qwerty keyboard.  An archaic interface architecture intentionally created to limit efficiency has embedded itself as far as the romantic language alphabet had millennia ago.  Production and improvement are ends in themselves that distort and belittle attempts to return to our origins, attempts to redefine the plan of our technological topography.   Just as Paris was remodeled in the early 20th century to intentionalize its capacity and functionality so we might gain from allowing machines to be deconstructed, reconsidered.  The near infinity fast serial click of a processor, does chain all programs that follow from this architecture to a linear programming style.
    Memory leaks are build ups from use.  Systems fill memory for directives and in doing so reserve the address of that memory tight. This stasis default on until it is again relinquished by either the complementary release subroutine (which is good programming), a periodic cutoff sweep (dirty programming)  or a force quit from outside(OS).  Im my Winter 2012 Maxterbation Installation the program gave perhaps 90% invalid redundant commands to the scripting of its own language,  Although it would have run more efficiently on script implementation I set the program to constantly update all states.  Needing not worry that it was constantly told to update to the exactly current state.  Such routines can panic the system as happenstancely my program would crash ever hours or two just from overload.
    Hackers use these system stalls sometime to interject a question.  Ask the higher program language for permission to change and redesign its state.   Th Wii hack consistted originally of running licensed game software that had been modified to exploit memory overrides or access queries the game would regularly make.  “Any Newbie hacker will be able to tell you that hacking relies on “exploits,” preexisting bugs that are leveraged by the hacker to gain access to a computer.”(galloway 167) Kinda like piggyback programming.  A Mario jumping off of Yoshi’s back to reach a secret block technique of access levying(leveling). Hierarchical access to the machine.
    Hacking is seen as a form of terrorism these days.  In much the same way as copyright infringement is seen as a crime.  Access and use of materials that have been previously appropriated as intellectual property is extremely controversial and constantly imposing limitations for creative acts.  Remix culture has access to the iconography of countless owners, and the tools to fabricate sustainable retrofications. reproducing clones if not mutants of previous cultural objects “votive figures”.      Richard Prince’s Marlboro Man Cowboy portraits are a perfect example of this quagmire.  Right at the heart of modern art is the ready made.  Duchamp created a new idea based on an interpretive assembly of pre existing objects.  This “new” idea, the crowning achievement of conceptual art isn’t legally protected.  The “old” idea came first and as the kernal: all growths that unfold from that source are tainted and mediated under the advisory of the copyright holder.  Patents are speficially crucial to the objective contents of thoughts. “ (T)he real issue here is one of control over a specific technical knowledge, (galloway 172)” Most often concerned with CAD files, or machine blueprints, these objective contents are ingenious spatial configurations for devices. The power of their production throttled by their property claim’s ownership.  I consider a book of these much diagrams a the theroems of Ptolemy would be for a previous era.  These functional designs for VCRs, Board Games, Telescopes, Cell Phones are patented as funcitonal apparati. Of them we are told “no user serviceable parts”.  Like hearing a foreign language that is only taught to a few diplomats.
Ihde makes a case for what he terms alterity relations.  It is primarily a relation to or with technology.  Ihde argues that this is a relation between a human being and some otherness, although an otherness generally weaker than the one we find in our relation with people and animals. The alterity relation, a form of quasi otherness relation to technology that in at least some limited way seems to take on a like of its own. (Fallman 301)
    On the other side logos and graphic design diagrams for NIKE, ARCO, PacificBell are in a parrellel machines for our mind to conceptually use.  Their Aesthetic Design is considered a fashion copyright.     Just as a patent’s  potency is embracied by a culture (Iphones for everyone) so too can the idea the patent be locked from distribution (MP3s, HIV vaccines, software OS exclusivity)  concealment and repression of this method of design, much the same way as the gutenberg printer forged an alliance with politics, so to our computers wage a stuttering race with corporate capitalism.  Patents are used much in the same way as cowtrops, or oilslicks in a speeding automobilie race of “technical innovation” to slow other potential drivers down. A company holding the functional capstone to an inquirer’s machine is decrepitly likely to offer them assistance.  Lost and mutated from the glory days of greek logicians talking of astral geometry, freely translating allegories and visualizations, perhaps symbollic math regauding space or mechanical construction techniques.  I search an internet repository with watermarks, and encryption, to see on majority: breif captions of the limitless archive of diagrams of mechanisms and molecular arrangement.  Perhaps a 1 of 1 million videos, 1 of ten million books, 1 of a billion pictures I see online for every one that is outthere.  It would be a fun learning reality if all of intellelectual property was crowd sourced archives into a Virtual Reality Space.  The archetecture of the internet might resemble the haphazard sprall of los angeles.  google might be the parias boulevard. Tor the black limosene.  But the buildings, the property are  locked up repositories that should have a more expressive architecture of a courtyard.  
    Open source technology allows innovators to improve and creatively mold the tools of our time.  Take the hammer as an example. To reverse engineer this tool might allow the power hammer to come about, Different heads, variations of the “temetic” code allow perfection and specialization of this tool.  Such could be said about most every computer every technology.  Rights to improve and creatively mutate temes accelerates human ingenuity, allows unique and customizable methods or expression.   This monopolization of  expressive commodities through  patent information limits piggybacking.   Designs can’t be repeated, they must be either less or more, but sometimes a design acts as the bottleneck, other expressions have to travel too close to a forbidden model for them to extend beyond to their expressive ends. Companies license for the right to piggyback on the iphones interface for battery, storage, camera, and power interface.  Such novel things as the computer GUI, or the mouse interface,   pay in app upgrades,  internet application techniques, these are all patented legal quagmires of their time.  Often  independent designers are deterred from experimentation as source codes are habitually encoded, limiting system reconfiguration.  As an alphabet of symbols,  some of our poetry cannot be uttered till we observe those symbols. Hackers and reverse enginners,  enjoy looking back into the lost designs.  As we expand our topography of circuit design, legacy chip’s specifications disappear,  a companies relished knowledge core often drowns in a sea of coorporate discrepancy, much as a bitter miser dies.  We could one day have more things we don’t understand then we do understand.  Lost specifications to machines, procedural compontents, chemicals, mutagens.  A post apocayptic world for sure if we could no longer identify the on/off button of our grand machines.  “Borgmann is “highly skeptical about the conventional view that technology frees us to attend to other, more simulating pursuits.  He argues, on the the contrary, that we are typically not freed up at all by technology but rather made passive.” (Fallman 304)
    Digging back:  technological archeology is a great past time. “Whatever code we hack, be it programming language, poetic language, math or music, curves or colorings, we create the possibility of new things entering the world”(WARK) Just as passing technology into the archaic:  I enjoy destroying the system specification and interacting with the machines duing its demise.  Often in the form of video or audio signal corrosion and distorition I realize the transitority states much as Nam Jun Paik redefined a television as Marcel duchamp hacked a uninal.  All new concepts come from hacking,  perhaps a form of ritual protocol seance.  One channels the inner spirit of a mechanism as a rudimentary primative mind,  recalling only the sense of spring and click of a tape player, or the flicker and whip from a TV. Protocol is the universe itself.  It expands as we experiment and tinker with possibility for an object or material.  If protocol is shrouded in ownership public knowledge of these originalities isn’t realized. “True protocol can not be closed or proprietary, It must be paraded into full view before all, and agreed to by all.  It benefits over time through its own technological development in the public sphere. “(galloway 171) The hacker is left to clean up, to stretch out in an unfamiliar space, to build what once might have been. Much like playing a video of a pick ax wielding miner breaking a mountain so does a hacker redesign technological interface.  
    Hacking accesses information that is veiled in intention secrecy, or hitherto limits of the possible.  “Protocol is synonymous with possibility.” (galloway 168) As a hole in a fence excites a coyote, a hole in a cup allows water to stream forth exploiting all possible leaks.  A hacker never breaks protocol, but acts according to a larger domain of protocol than the security program assumed where the limits of access. “After all hackers merely exploit preexisting holes made by clumsily constructed code.”(galloway 162) Intrusion Countermeasures Electronics (ICE) are algorithms that attack cyber attack property violations.  Parallels to them are litigation,  judges and police for abject hackers, and more recently drones that actually are hardware ICE.  Software ICE doesn’t exist yet,  No one dies from the computer hosting an internet virus to directly corrupt their Nervous system now do they? like in the movies and Sci fi books. Strangely ICE is the true embodiment of malicious alterity that we know only in data loss:
When working with a word processor, the application functions as an almost transparent tool for manipulating the document. However, in the case of a serious breakdown the ongoing flow and the transparency of the tool is lost and the relationship transforms into frustration and rage which is directed towards the computer system…. (A)ttention becomes directed at the tool itself.   (Fallman 302)
Before we ever glimpse an artificial intelligence we have long animated our machines with our own projected expression.  Such that no definitive moment in the future or past will decisively introduce us to a new sentient companion.
    Much as a freewill argument: If you can should you?:  The hackers ethic is of freedom to explore, The hacker doesn’t accept that holes in fences of software have the same connotation as real estate property.  Virtual property,  access to the etherial  territory of the new century is certainly being modeled by corporations under the same guide of physical property.    My personal concern with access rights revolved around machine access.  A prime example is the jail break an Iphone.  To use a peice of technology outside the bandwidth of official specifications.  The tinkerer, the designer adapts their tools to respond to new challenges,  The innovator is by definition a recomposer of previous methods of design to allow the protocol of materials and technology to be expanded to it’s entire potential.   “(DMCA) basically makes it illegal to reverse engineer technology.  This means that you;re not allowed to take things apart to figure out how they work if corporate entities involved don’t want you to.” (2600 Spring 2000 p. 6 the next chapter.) Be they physical objects like microchips or more language designs like software.  To walk backwards towards a mountain once climbed but fenced of as soon as it was origianlly discovered.  Lots of destinations on the map of objective mechanism thoughts are scratched off.
    Culture Jamming    proposed by Negative land  certainly defines this expressive plight of the contemporary artist.  Using the objects and commercials of companies to thwart their proprietary development and redefine their products for the culture at large.  This crosses with 3d printing and hacking culture at the point of improving or diverging the design implementation of products. Kinda like breeding bastard animals to stand ground against their pure heredity. “Hacking is an index of protological transformations taking place in the broader world of techno culture. “(galloway 162)  Like a list of instructions to dismantel this unnatural world towards a intentionally implemented technological embrace.
My Favorite way to return autonomoy to computers is through abstracted and reintroduced computer or circuit user interface.  I create tactile control surfaces through copper etching.  countless object configuations can be harnessed for user interface from springs, latches, prongs, conductive materials.  On the other side their exists the wide surplus of user interface devices that can piggyback new or even long lost old interface techniques,   one’s body can approach an intuitive interface device.   Similarly in computer use touch screen interface has opened a new creative chapter to Taylorism.  Designing the work and play surface is possible in an infinitely reconfigurable virtual surface.  In this respect we no long have to  hack programs, but develop them. The universal learning machine has coupled with a universal interface machine.  With vehemence our culture flocks to smart phones that couples  needy pet with techno calculator.  “Caress me to enter” the machine beckons.  We design these applications and OSs with heightened attention to how they affect the user, how the software simulates a physical surface with friction and tension.  But for all its tangibility many devices strive to remain the etherial property and configuration of their parent company.  Nintendo DSs wirelessly update without user concent.  More and more applications are trying to be subscriptions instead of “Objects of ownership”  Amazon logs into your kindle library and deletes books it sold to you but have recently swapped permission rights.  People struggle to control their autonomy in a digital world that are capitalist mutations of socialism mentalities considering the “comrades” computer.





Bibliography
Fallman, Daniel. Persuade Into What? Why HCI Needs a Philosophy of Technology. Berlin: Springer-Verlag , 2007. 295-306.
Blackmore, Susan. “Susan Blackmore: Memes and “temes” .” TED. 05/04/2008. Lecture.<www.youtube.com/watch?v=fQ_9-Qx5Hz4>.

Galloway, Alexander. Protocol: How Controls Exist after Decentralization . MA: MIT Press, 2004. Print.

“Mentor”.  “The Hacker Manifesto.” . N.p., 01/08/1986. Web. 13 May 2012. <http://www.mithral.com/~beberg/manifesto.html>.

Wark, Mckenzie. “Wark, A HACKER MANIFESTO [version 4.0].” . N.p., 4.0. Web. 13 May 2012. <http://subsol.c3.hu/subsol_2/contributors0/warktext.html>.

Sunday
May132012

““Solastalgia .. the Earth’s nostalgia”” (Catalina Prospectus)

 Solastalgia is a recently concept developed by Glenn Albrecht philosopher and first introduced at the Ecohealth Conference in Montreal in May 2003 to give greater meaning and clarity to environmentally induced distress (Albrecht et al. 2007). As opposed to nostalgia, the melancholia or homesickness experienced by individuals when separated from a loved home, solastalgia is the distress that is produced by environmental change impacting people while they are directly connected to their home environment.

 

Albrecht explains Solastalgia as a combination of the Latin word solascium: comfort and the Greek word algia: pain. Solastalgia is the Somaterratic illnesses (soma: body, terratic: earth-related) that threaten physical wellbeing are caused mainly by living in ecosystems that have been destroyed, transformed, and contaminated by pollutants and toxins generated by the Ecosystem’s overexploitation.  I mean original Ecosystems or wilderness or wildland or natural environment on Earth where the life’s diversities once existed with plants, animals, water, mountains etc. and that were altered by human machinery to be exploited and altered in a huge scales after mining, oil extraction, hydroelectric construction, mono-agriculture, modern cities etc., in other words our modern and mutant creation.

 

Donehower explains: solastalgia captures the interrelationship between environmental degradation and the disruption of families and communities. The resulting symptoms of this human distress of dislocation and habitat destruction—depression; alcohol and drug abuse; high rates of suicide, diabetes, and heart disease; and the breakdown of family and community culture—coupled with ecological distress… are embraced in the notion of solastalgia (2).

 

In the same way, Psychoterratic illness is defined as Earth-related mental illness where people’s mental wellbeing (psyche) is threatened by the severing of ‘healthy’ links between themselves and their home/territory (Albrecht 95). Preliminary research by Albrecht on mining and drought has produced promising new insights into psychoterratic illness, there are many more environmental contexts where chronic environmental stressors negatively affect human health and wellbeing. Likewise, Psychoterratic illness has been also named for many others psychologists working on this subject after Albrecht as “Nature Deficit Disorder”, “Ecoanxiety” and “Ecoparalysis” for this reason this time is recognized as “the age of ecological crises (Smith).

 

Climate change for one, might, unfortunately, be a globally significant source of psychoterratic distress expressed as nostalgia and solastalgia” (97).  The “age of ecological crises” is the current climate change or global warming, that is not only a consequence of changes in the Sun activity and Earth cycles at galaxy scales, is also a consequence of the Land use transformation that we have been accelerating since the last 100 years after industrialization and overpopulation. Our modern human, our behaviors and habits has contributed hugely to the global warming, and the global warming is only alerting us that we have to change our habits to return the balance with the Earth and to remember what is our origin.

 

In fact, there is recent report by the American Psychological Association (APA) titled “Psychology and Global Climate Change: Addressing a Multi-faceted Phenomenon and Set of Challenges”. The aim of this report is to examine the role of psychology in understanding and addressing global climate change, including efforts to adapt to and mitigate climate change. In this paper they describe the contributions of psychological research to an understanding of psychological dimensions of global climate change, provides research recommendations, and proposes policies for APA to assist psychologists’ engagement with this issue (Swim et al., 6). For me this means that psychology’s community is now aware of global warming consequences in psyche’s human and how the environment we live is vital for a healthy life.

 

In the same way appeared “Ecopsychology” that is defined by John Davis as the story of “the home of the soul”. It is concerned with healing the relationship between the human soul and the “soul of the world” (Anima Mundi). It acts as a bridge between the fields of ecology and psychology to address the psychological and spiritual roots of the ecological and human crisis that we are experiencing. During the past approximately sixty years, the focus of psychiatry’s attention has gradually become enlarged, from an early preoccupation with intrapsychic [interior] processes … to include interpersonal and broad sociological-anthropological factors. It would seem then that a natural next phase would consist in our broadening our focus still further, to include man’s relationship with his nonhuman environment.” Four decades later, this next phase in the broadening of psychology’s focus—call it “ecopsychology”—is finally beginning to take shape (Davis, 2006).

 

 

So is solastalgia an old and big trauma?

 

In our society everybody has at least one trauma. “The notion of trauma has confronted us not only with a simple pathology, but also with a fundamental enigma concerning the psyche’s relation to the reality. In its general definition, trauma is described as the response to an unexpected or overwhelming violent event or events that are no fully grasped as they occur, but return later in repeated flashbacks, nightmares and other repetitive phenomena” (Caruth 89).

 

I believe that it accomplishes this through physiological route in our bodies, as a result of experiences that we have had in our life or perhaps patterns transmitted by our ancestors like a genealogical tree. Then, a physiological route is created like a pattern in the nervous system and maybe stored as DNA information and thus transmitted generation by generation. This means that every human being has the whole human history in their cells; one collective and common history, and one personal. In this way, if DNA is the best archive or database that exist since the beginning of the times, can you imagine all the collective traumas we have as humanity after all this war, repression, and lost of the wild environment?. Trauma generates pain, pain generates physiological paths and as a consequence we use drugs, alcohol or chemical medicaments that creates addiction but help us to forget the pain.  It is how Western psychiatry and modern medicine resolved the big problem and how the modern society is hiding a huge and ancestral pain, as it is Solastalgia, the pain for a lost home, the nostalgia and melancholy for the peace that produce to live in a natural or aboriginal family and community rounded by wilderness.  

 

Perhaps, our hurts or pains are coming from ancestral memories since we lost connection with the Earth, with the “Mother Earth” as reclaim many aborigines or native cultures around the world like Hopis from North America, or Mapuches and Koguis from South America or Australian and New Zealand aborigines, between others. How many thousands of years of Solastalgia we have been experiencing?.  These folks still perceive and feel the Earth as a Mother and Goddess, as a live spirit with emotions and perceptions. For those native and original cultures still with ancestral memories, “She, the Earth” is a common personification of nature that focuses on the life giving and nurturing aspects of nature by embodying it in the form of the mother. For instance, in Inca mythology, Mama Pacha or Pachamama is a fertility goddess who presides over planting and harvesting and causes earthquakes.  There are many images of women representing Mother Earth or Mother Nature, and they are timeless. In prehistoric times, goddesses were worshipped for their association with fertility, fecundity, and agricultural bounty. Priestesses held dominion over aspects of Incan, Algonquian, Assyrian, Babylonian, Slavonic, Germanic, Roman, Greek, Indian, and Iroquoian religions in the millennia prior to the inception of patriarchal religions.

Therefore, if Solastalgia “as a concept” coined after seeing how a current and aboriginal Australian community is suffering distress after scarcely 20 years of experimenting destruction of their territory or land, then thinking in our genealogical tree and assuming that we are connected with our ancestors through the genes and many generations of DNA replication and information, I conclude that every person in this planet is suffering Solastalgia, because after many generations we are not more conscious connected with our house, and when I say our house I refer specifically to our planet, our Earth. To me the Earth is the only house I have, and I felt sadness everyday with a pain in my heart after seeing all the destruction we have created in the original paradise that this planet was some time ago. It is like generations over generations we had forgot how respect and feel gratitude and love for being part of the same eco-system, it is like an organelle inside the cell forget that is part of the cell or and organ is part of the body. It is because we forget that we are the sons of the Earth and the Earth is the big mother who feed not only our bodies but also our souls.

 

Are we artists able to create healing experiences in order to help the future generations to cure solastalgia?

Recapping Dewey: “An experience” is one in which the material of experience is fulfilled or consummated, as for example when a problem is solved, or a game is played to its conclusion. For Dewey “life is a collection of histories, each with their own plots, inceptions, conclusions, movements and rhythms. Each has a unique pervading quality” (57).

If an experience is deeply connected with all the body, with every cell and organ and directed by the brain and nervous system as the director of an orchestra, if is always heading for the emotions, because an individual’s state of mind is interacting with biochemical (internal) and environmental (external) influences; if it is associated with mood, temperament, personality, disposition, and motivation. Are we able after some experiences to change the DNA patterns and create new behaviors and conduct that at the end will be inherited genes for the next generation?. Could we change our DNA patterns if we change our behaviors now? And then we would create a new legacy of people for the future generations. People who feel love for the Earth and have peace living in a beautiful planet? Could we change the future of the planet if we collaborate to change the Environment? As well as a cell changes the physiological paths to create immune defenses in order to protect the organs and the whole body. Finally, we as artists are able to create emotions through an artistic experience that can change our perception for the environment and the Earth and how we can do that?. 

 

Many of this questions can be answered as Albrecht said when coin the other term Soliphilia as the solidarity needed between all of us to be responsible for a place and the unity of interrelated interest within it. Solastalgia will be overcome only when sufficient numbers of us act in solidarity to defeat the forces of desolation (Albrecht 2010, 12). Or as simply said Albert Schweitzer, “ethics is nothing else than reverence for life.” In all aspects of life - social, cultural, psychological, political, scientific and economic – we as humans need to redirect our energy and intelligence to an ethically inspired, urgent, practical response to overcoming the causes of solastalgia (Albrecht 2007, 36).

 

This essay will continue….

 

Answers and Solutions

sustainability, green architecture, permaculture, restoration of ecosystems, neotribalism, ecovillages etc…

 

Work cited

Albrecht Glenn, Alternatives Journal 32:4/5 2006

Albrecht Glenn, Gina Meree Sartore, Solastalgia: the distress caused by environmental change. Australasian Psychiatry. Vol 15 Supplement . 2007 S97

Caruth, Cathy. “Traumatic Awakenings” in Andrew Parker and Eve Sedgwick (eds.) Performativity and Per- formance (London: Routledge, 1995).

Davis, J. Wilderness rites of passage. From Home of the soul/soul of the home: Foundations and practices for a nature-based path, unpub. 2006. http://www.dragonflyhealing.ca/ecopsychology.php

Dewey  John. “Having an Experience,” (Ch. 3 of Art as Experience). 1934

Swim Janet, Susan Clayton, Thomas Doherty, Robert Gifford, George Howard, Joseph Reser, Paul Stern, Elke Weber.  Psychology & Global Climate Change addressing a multifaceted phenomenon and set of challenges. American Psychological Association. Task Force on the Interface Between Psychology and Global Climate Change. 2010. http://www.apa.org/science/about/publications/climate-change-booklet.pdf

Donehower, K. Migration and education in a multicultural world: Culture, loss, and identity. Journal of Research in Rural Education, 24(13). 2009.Retrieved [date] from http://jrre.psu.edu/articles/24-13.pdf

Saturday
May122012

Asymmetry, Context, Surveillance, Conspiracy (Jacob Prospectus)

The use of perspective is one of an artist’s most powerful tools. As an artist, one of the areas I am most interested in exploring is how new media implements not just interactivity to push a subjective experience to its interactors, but also how notions of framing and context can be incorporated to further split the experience from something that feels singular, to more of a conceptual space that can be explored.

 

As a member of the Playable Media group, this conception of context is not based solely in the realm of art theory, but also in game theory. Specifically, I see interesting parallels between these issues of perception and affordance, and the structuring of play experiences in games with asymmetrical roles. These sorts of games are driven by play where people may work together or against each other with very different abilities and thus experiences, but towards a common goal. The simplest example of this is the board game Fox and Geese, although more complicated instantiations of this are undertaken in computer games such as Unknown Worlds’ Natural Selection.

 

In terms of medium, my recent work has been concerned with augmented reality. AR’s attraction for me is that it can take the capabilities of digital media—replication, computation, relational databases—and apply that to a viewer’s perception of a piece. Because of this, one can have a physical object or location which, through the overlay or association of these digital assets, has dramatically different presentation and affect on the viewers. This ties in with my interest in asymmetrical roles, extending that line of inquiry from a performative dimension into questions of form and content.

 

Another art practice or area of concern for me is in the social dimension of audience experience. Boulliard’s relational aesthetics and the conceptions of artistic “happenings” along with Fluxus or performance art as a general practice interest me because it seems to me a way to potentially alter not just the way people think about the world, but how they think about their place in the world and the social, collaborative possibilities within it. My focus in playable media means I turn that interest to encapsulate situational social games, the most foregrounded of those being alternate reality games, or ARGs. The most popular of ARGs have unfortunately also been the most commercialized, commissioned as part of a guerrilla media marketing strategy to make a certain product or movie, such as Halo or The Dark Knight franchise, bleed outside its realms in the public’s imagination to encapsulate—and thus market to—a larger part of their lives. My project’s firm stance as an academic undertaking will allow me to tap into (and subvert) that expectation.

 

My plan is to grapple and explore these issues through the creation and running of an alternate reality game utilizing augmented reality as one of its primary mediums. I feel it will be something innovative, in that it incorporates these mechanisms of asymetrical gameplay, but hopefully deepens them as I want (in a simple, introductory way) to attempt to push them down to the semiotic level, where actions taken by players on objects can perhaps become a form of translatable effect that can be mapped onto different operational logics of the game. This will allow players to engage in play that appeals to them (which may vary widely person-to-person) but through this level of semiotic abstraction will incorporate all actions into one interactive ecology. Thus, the way I play the game impacts and manipulates objects in your game directly through translation, although not in any way that I may even perceive as relational from the frame as a fellow player.

 

As the “puppetmaster” of this game, however, I will have access to behind-the-scenes information about how people are interacting, and will be able to tweak and leverage that engagement to dramaturgically set the stage for the narrative I want to communicate. This brings to light another politicized capability built into this form that I want to engage thematically: surveillance. The primary mediating frame of the game will be smartphones: those ubiquitous, online, connective cameras that can be employed and exploited simultaneously. Players will be asked in various contexts to take pictures or engage in citizen surveillance, either in the service of a larger fictional organization, or as a team effort to collaborate evidence to untangle the challenges set before them. ARGs also historically operate through a framework of pervasive context and conspiracy: the game is everywhere, and any action you take may be subject to surveillance and incorporation into the game. I want to engage that to push people out of their comfort zones and re-evaluate what they do / are willing to do for the sake of a game. I’m interested in not only asking the question “where are the borders of the game” and blurring that, but also “where are the borders of play” and what actions that are excusable in some contexts (taking pictures of strangers or in not-so-public places) but not others.

 

 

 

References

 

Agre, Philip. Computation and Human Experience. Cambridge: Cambridge UP, 1997. Print.

 

Bourriaud, Nicolas. Relational Aesthetics. Dijon: Leses Du Réel, 2009. Print.

 

Mateas, Michael, and Noah Wardrip-Fruin. “Defining Operational Logics.” Games and Playable Media. Proc. of Digital Games Research Association 2009, Brunel University, London. Expressive Intelligence Studio. Web. 12 May 2012. .

 

Parker, Andrew, and Eve Kosofsky. Sedgwick. Performativity and Performance. New York: Routledge, 1995. Print.