What does it say about the state of art and technology when one of the world's great living artist uses the world's hottest technology to create his latest art exhibition.rc

Hockney first became interested in iPhones about a year ago (he grabbed the one I happened to be using right out of my hands). He acquired one of his own and began using it as a high-powered reference tool, searching out paintings on the Web and cropping appropriate details as part of the occasional polemics or appreciations with which he is wont to shower his friends.

But soon he discovered one of those newfangled iPhone applications, entitled Brushes, which allows the user digitally to smear, or draw, or fingerpaint (it's not yet entirely clear what the proper verb should be for this novel activity), to create highly sophisticated full-color images directly on the device's screen, and then to archive or send them out by e-mail. Essentially, the Brushes application gives the user a full color-wheel spectrum, from which he can choose a specific color. He can then modify that color's hue along a range of darker to lighter, and go on to fill in the entire backdrop of the screen in that color, or else fashion subsequent brushstrokes, variously narrower or thicker, and more or less transparent, according to need, by dragging his finger across the screen, progressively layering the emerging image with as many such daubings as he desires.

Over the past six months, Hockney has fashioned literally hundreds, probably over a thousand, such images, often sending out four or five a day to a group of about a dozen friends, and not really caring what happens to them after that. (He assumes the friends pass them along through the digital ether.) These are, mind you, not second-generation digital copies of images that exist in some other medium: their digital expression constitutes the sole (albeit multiple) original of the image.   more »

What happens to the yoga of the cells when cells become synthetic? rc.

"Synthetic biology is changing so rapidly that predictions seem pointless. Even that fact presents people like Endy with a new kind of problem. “Wayne Gretzky once said, ‘I skate to where the puck is going to be.’ That’s what you do to become a great hockey player,” Endy told me. “But where do you skate when the puck is accelerating at the speed of a rocket, when the trajectory is impossible to follow? Whom do you hire and what do we ask them to do? Because what preoccupies our finest minds today will be a seventh-grade science project in five years. Or three years.

“We are surfing an exponential now, and, even for people who pay attention, surfing an exponential is a really tricky thing to do. And when the exponential you are surfing has the capacity to impact the world in such a fundamental way, in ways we have never before considered, how do you even talk about that? ”

For decades, people have invoked Moore’s law: the number of transistors that could fit onto a silicon chip would double every two years, and so would the power of computers. When the I.B.M. 360 computer was released, in 1964, the top model came with eight megabytes of main memory, and cost more than two million dollars. Today, cell phones with a thousand times the memory of that computer can be bought for about a hundred dollars.

In 2001, Rob Carlson, then a research fellow at the Molecular Sciences Institute, in Berkeley, decided to examine a similar phenomenon: the speed at which the capacity to synthesize DNA was growing. He produced what has come to be known as the Carlson curve"....   more »

The issue of the interface between creative imagination and the regime of computation has been explored several times on SCIY. The difference between imaginito phantasie (fancy or associative imagination) and Imaginito vera (true or creative imagination) was a theme developed by the medieval Alchemist and carried on in the work of such romantics poets as Coleridge who makes the following distinction between Fancy and (creative) Imagination:

The distinction between Fancy and the Imagination rest on the fact that Fancy was concerned with the mechanical operations of the mind, those which are responsible for the passive accumulation of data and the storage of such data in the memory. Imagination, on the other hand, described the "mysterious power," which extracted from such data, "hidden ideas and meaning." It also determined "the various operations of constructive and inventive genius."

What occurs to the eidetic powers of mind when it resides in a mental environment that is ceaselessly bombarded by media images that represent the collective "fancy" of neo-liberal globalization? The question of creating computational platforms to facilitate the interface between the creative imagination of the human subject and the design of software programs will perhaps be an important one for maintaining the integrity of the creative faculties of human consciousness in its future evolution. This article on phantasmal media is a fascinating exploration of the theme. rc.



(Loss, Undersea is a phantasmal media work by the author in which a character dynamically transforms according to undersea metaphors - as in the silhouettes on the right - and poetry is dynamically generated according to affective constraints.)

Rendering this vision of computational expression tangible requires new terminology. The name given to ideal examples of the type of meaning making systems considered in this article is phantasmal media. The term "phantasmal" may summon, for some readers, mental pictures of ghosts, spooks, apparitions, and specters. Yet here it does not refer to those supernatural entities, but rather to the human capacity to construct any other mental images both consciously and unconsciously. The focus is on two related perspectives on the phantasmal. Regarding the first perspective, that phantasmata are conscious mental images, thinkers such as W. J. T. Mitchell have argued that they are closely related to visual images and verbal images as well. [10] Such mental images comprise a range of meaning phenomena. They are imaginative meanings, but crucially are not restricted to language. They can refer to embodied sensations, cultural contexts, and more abstract ideas. Certainly, all of our engagements with media artifacts are accompanied by the mental work of interpretation. Yet, the focus of the concept of phantasmal media is a type of work that often concentrates (primarily through interactive and generative multimedia) on creating narrative and poetic mental imagery to express artistic and critical statements about the world.....   more »

In this article, Andrew Feenberg, a major thinker on culture and technology (more properly the culture of technology) refelcts on globalization and the contribution of national cultural histories to its increasingly systemic pervasion. The specific non-western nation he takes for his illustration and the exploration of a thesis of alternate modernity is Japan. How is modernity technologically assimilated in Japan and how is world modernity shaped by Japanese culture? Is there any cultural distinction which can be spoken of here? Do cultures change as a result of modern technology or do they remain the same? Or can they influence modernity? Or are they capable of alternate modernities? These are some of the questions Feenberg starts with.

In further developing his refelctions, Feenberg draws on the thought of early modern Japanese thinker, Kitaro Nishida (1870-1945). It is interesting to see how Nishida's ideas of the rise of Asia and the concord of national cultures in an organic globalization resembles Sri Aurobindo's thesis on the ideal of human unity. Neo-Hegelian reflections of this kind were an important staple of early modern thought, on the threshold of a wave of world modernization, and Sri Aurobindo's own contribution to this imagining of the future must be read within this discourse. Feenberg points to the ultra-national distortions in Nishida's text, but also to its continued relevance and fertility. - db   more »

We use "Empire" in the sense proposed by Michael Hardt and Antonio Negri to designate a post-Cold War planetary capitalism with "no outside," [1] but we modulate their account to take greater consideration of the internal frictions wracking this order since the millennium. By Empire, we mean the global capitalist ascendancy of the early twenty-first century, a system administered and policed by a consortium of competitively collaborative states, among whom the US still clings, by virtue of its military might, to an increasingly fragile preeminence. This is a regime of biopower based on corporate exploitation of myriad types of labour, paid and unpaid, for the continuous enrichment of a planetary plutocracy. Empire is an order of extraordinary scope and depth. Yet it also is precarious, flush with power and wealth, yet close to chaos as it confronts a set of interlocking economic, ecological, energy, and epidemiological crises. Its governance is threatened by tensions between a declining US and a rising China which could either result in some super-capitalist accommodation, consolidating Empire, or split it into warring Eastern and Western blocs. Its massive inequalities catalyze resistances from below, some, reactionary and regressive, others, like the global justice and ecological movement, protagonists of a better alternative.

What makes virtual games' technocultural form exemplary of Empire is their identity with its key means of production, communication and destruction--the digital network. More than any previous media other than the book, virtual play is a direct offshoot of its society's crucial technology of power. Sprung from the military-industrial matrix that generated the computer and Internet, games are today a test ground for digital innovations and machinic subjectivities: online play worlds incubate artificial intelligences; consoles plug to grid computing systems; games are media of choice for experiments in neurobiological stimulation and brain driven telekinesis. And, once suspect as delinquent time waster, virtual play is increasingly understood by state and corporate managers as training populations for networked work, war and governability.

We examine the relation between games and Empire in terms of the virtual and the actual, conjugating this couplet with intentionally fuzzy logic in two distinct yet overlapping ways. The virtual is the digital, the on-screen world, as opposed to existence "IRL". But "virtual" also denotes potentiality; the manifold directions in which a given, actual, situation might develop. [2] The technological and ontological virtual are distinct and should never be conflated. [3] But they are related, through the practice of simulation. Computers create potential universes. They model, dynamically, what might be. Such simulation is vital to a power system engaged in the high-risk military, financial and corporate calculus required for globalized control. It is from such simulation that virtual games emerged, broke loose into ludic freedom--only to now be reintegrated into the assemblages of world capital, as a means of inducing the "flexible personality" [4] demanded by digital work, war and markets. Yet this ludic apprenticeship can generate capacities in excess of Empire's requirements. Just as the eighteenth-century novel was a textual apparatus generating the bourgeois character required by mercantile colonialism (but also capable of criticizing it), and twentieth-century cinema and television were integral to industrial consumerism (yet screened some of its darkest depictions), so, we suggest, virtual games are the exemplary media producing subjects for twenty-first century global hyper-capitalism but also, perhaps, of exodus from it.   more »

Andrew Feenberg is the Canada Research Chair in Philosophy of Technology at the School of Communication, Simon Fraser University. In this article he considers the specificity of our Modern Age as Technology, as identified and theorized both by Martin Heidegger and Jurgen Habermas. Both these seiminal modern/contemporary thinkers, though marked by divergence in important respects, see Technology as the determining agent for modern subjectivity as a condition of subjection, alientaion, instrumentalization, homogeniety and social fragmentation. Feenberg here analyzes primary and secondary characteristics of Technology and indicates possibilties of technological reform in a post-industrial context to reintegrate culture, community, creativity and participatory improvization into world culture. One may note that though for the purposes of his own transformative discourse, Feenberg construes Heidegger and Habermas oppositionally as essentialistic in their characterization of Technology, in fact his reformative possibiltiies return us to Heidegger's view of the essence of Techne as Poiesis.

   more »

Reference: 100 Years of Sri Aurobindo on Evolution

This is the first part of a longer meditation on the future bodies. I have entitled this section “Goodbye To All That” which is the title of Robert Graves autobiography in which he recounts his experiences in the trenches in WWI. What he is saying goodbye to is the passing of an era: of the naive, carefree, class based culture of Edwardian England, which did not survive the war. Sri Aurobindo wrote the passages referenced here at about the time the Edwardian era ended and the great war began. Because our views and valorization of nature are cultural constructions, to appreciate why Sri Aurobindo extrapolates a certain form of naturalism into the future body we must first excavate his conceptions of “what is natural.”

The context of his writing referenced here on evolution and the future body seems to flow naturally out of a post-romantic protestant view of Nature he must have been exposed to growing up in England which lived on well into the Edwardian era. To the British upper classes it was a view of nature as pristine, which they enjoyed in well manicured English country gardens, not yet smeared with the blood of the trenches. Above all nature was clearly distinct from the machinery given to us by culture.

In forming his view of nature Sri Aurobindo took account of Ruskin's, Carlyle's, and Arnold's critique of industrialism. This view of nature was certainly valuable for sacramentalizing nature at a time when the Industrial Revolution was rapidly desecrating it. Today however, the interpenetration of nature by information technologies and genetic engineering has added enough complexity to what it means to be natural/human that we can no longer escape environments which are increasingly mediated by technology. Electricity undergirds much of our phenomenological experience of the world, bio-technology sustains our physical presence in it. In such a brave new world the continuity of the already developed evolutionary form with all its biological naturalism seems to be a reality to which we have already said goodbye

But, what is important for us in Sri Aurobindo's vision of the future body ....    more »

Reference: 100 Years of Sri Aurobindo on Evolution

Growing out of the work of these early critical intellectuals, a more developed, non-teleological science grounded in materialist dialectics came to the fore in the 1960s and 1970s with the work of Marxist-influenced scientists—particularly Richard Lewontin, Richard Levins, and Stephen Jay Gould at Harvard, then the leading center of evolutionary biology. This year marks the twentieth anniversary of Levins and Lewontin’s book, The Dialectical Biologist, one of the foremost examples of a genuinely dialectical materialist approach to history and science. Levins and Lewontin discuss a wide range of subjects including evolution, scientific analysis, science as a social product, and the products of science. Their discussions of these issues present a challenge to received thought with its naturalistic explanation of social conditions. Levins and Lewontin describe how mainstream science typically assumes evolution to be a progressive process leading to a state of equilibrium. Within this dominant view, an ideology of biological determinism is used to justify inequalities, arguing that differences in abilities among humans are innate and that these innate differences are biologically inherited. Additionally, Lewontin notes, it is too often assumed that it is human nature to confer more rewards and status to those with “better” abilities and the “right kinds of genes” (Biology as Ideology, 10–23). Such mechanistic, reductionist science is perfectly suited to the ruling-class ideology. At the genetic level life is reduced to independent, individual actors (so-called “selfish genes”), which carry out a Hobbesian struggle of all against all, thereby inscribing most natural and social characteristics within DNA. Likewise at the species level, constraints are seen as being placed on species that must either adapt to their environments or perish. A rigid natural order is presumed to exist in this doubly ahistorical universe that narrowly delimits the roles played by living things, including human beings, in their own evolution, and in the evolution of their natural environments.

In The Dialectical Biologist, Levins and Lewontin reject one-sided notions of mechanical reductionism and superorganic holism (common in ecology) and the hierarchical conceptions of life and the universe that they both generate. In presenting their approach, they critique both idealism and reductionism within the natural sciences. Instead Levins and Lewontin argue for a dialectical and materialist approach that understands that the world “is constantly in motion. Constants become variables, causes become effects, and systems develop, destroying the conditions that gave rise to them” (279). The universe is one of change due to existing and evolving contradictions, which force transformation in the conditions of the world. “Things change because of the actions of opposing forces on them, and things are the way they are because of the temporary balance of opposing forces” (280).

A dialectical relationship exists between a subject, such as an organism, or even human society, and the environment. They exist as one (in tension), given that an organism is part of nature. The former is dependent upon the latter for its existence, and both realms are transformed throughout their relationship, but “do not completely determine each other” (136). Darwin downplayed (but did not deny) the importance of the constraints placed on evolutionary change due to the structured nature of the ontogeny (individual development) of organisms, which potentially restricts the types of changes organisms can undergo in their phylogeny (evolutionary history). He elevated the conditions of existence—external environmental forces—to primacy in explaining evolution, so as to establish natural selection, not the final ends of natural theology, as the dominant force behind the transformation of species. Yet in so doing, he established a view of natural history as predominantly one-sided—i.e., the environment was seen as largely determining the evolutionary process, and not as equally the consequence of the evolution of life. Darwin recognized that variation is an internal process, in which causes external to organisms did not determine how things turned out. However, he generally assumed that any pattern to variation was of subsidiary importance for evolution. In order to grapple fully with the evolution of life and the transformations of the world, Levins and Lewontin stress, it is necessary to consider the complex interactions of both the internal and external dimensions of life. >   more »

Reference: 100 years of Sri Aurobindo on evolution.

This is the second volume of a festschrift for Lewontin, the leading evolutionary geneticist, Marxist, and critic of genetic explanations of human behavioral characteristics. This volume contains twenty-eight articles, including the work of some ten leading philosophers of biology, several of whom worked in Lewontin’s laboratory while on leave or exchange (Sober, Lloyd), took courses with (Brandon), was a colleague of (Wimsatt), co-authored with (Sober, Godfrey Smith) or were influenced heavily by Lewontin. There also are works of a general nature by several of Lewontin’s Marxist or radical biologist colleagues or comrades, including edited and abridged chapters from books by Steve Gould and Steve Rose, an article on identity politics by Ruth Hubbard, and a critique of chaos theory by Richard Levins. I shall concentrate on those articles that I think most clearly develop two theoretical themes originally adumbrated by Lewontin, the critique of genic selectionism and the defense of the claim that organisms construct their environments. For brief, clear abstracts of all twenty-eight articles see the review by Michael Bradie (2002) in this journal. An adequate essay-review of the score of topics covered in various articles would be at least as long as the book itself.   more »

The Bauhaus, founded in 1919 at Weimar, Germany by Walter Gropius, was arguably the most influential school of design in modern times, set up in the form of a residential creative community of designers, craftsmen, architects and artists. As part of its central ideal, Water Gropius, the founder of the Bauhaus, envisaged a world made up of creative communities united spiritually in and around a materialized soul, which he likened to "a crystal cathedral." Today, Bauhaus influenced architecture is ubiquitous as the symbol of world modernity, but Gropius' dream is far from fulfilled. This article explores the historical dimensions of this ideal, the causes for its failure and the possible conditions for its postmodern manifestation.   more »

Perhaps one of the most interesting disappearances of bio-technology is when its vanishing horizon is art....

BioArt is an art practice in which the medium is living matter and the works of art are produced in laboratories and/or artists’ studios. The tool is biotechnology, which includes such technologies as genetic engineering, tissue culture and cloning. BioArt is considered by most artists to be strictly limited to “living forms,” although there is some debate as to the stages at which matter can be considered to be alive or living. The materials used by Bioartists are cells, DNA, proteins and living tissue. Creating living beings and practicing in the life sciences brings about ethical, social and aesthetic inquiry. The phrase "BioArt" was coined by Eduardo Kac in 1997 in relation to his artwork "Time Capsule". Although it originated at the end of the 20th century through the works of pioneers like Kac and Gessert, BioArt started to be more widely practiced in the beginning of the 21st Century. Thus, it may be considered the first 21st century art movement.



"Move 36" makes reference to the dramatic move made by the computer called Deep Blue against chess world champion Gary Kasparov in 1997. This competition may be characterized as a match between the greatest chess player who ever lived and the greatest chess player who never lived. The installation sheds light on the limits of the human mind and the increasing capabilities developed by computers and robots, inanimate beings whose actions often acquire a force comparable to subjective human agency.

According to Kasparov, Deep Blue's quintessential moment in game two came at Move 36. Rather than making a move expected by viewers and commentators alike--a sound move that would have afforded immediate gratification--it made a move that was subtle and conceptual and, in the long run, better. Kasparov could not believe that a machine had made such a keen move. The game, in his mind, was lost.

The installation presents a chessboard made of earth (dark squares) and white sand (light squares) in the middle of the room. There are no chess pieces on the board. Positioned exactly where Deep Blue made its Move 36 is a plant whose genome incorporates a new gene that I created specifically for this work. The gene uses ASCII (the universal computer code for representing binary numbers as Roman characters, on- and off-line) to translate Descartes's statement: "Cogito ergo sum" (I think therefore I am) into the four bases of genetics.

Through genetic modification, the leaves of the plants curl. In the wild these leaves would be flat. The "Cartesian gene" was coupled with a gene that causes this sculptural mutation in the plant, so that the public can see with the naked eye that the "Cartesian gene" is expressed precisely where the curls develop and twist....more

The "Cartesian gene" was produced according to a new code I created especially for the work. In 8-bit ASCII, the letter C, for example, is: 01000011. Thus, the gene is created by the following associations between genetic bases and binary digits:



Genesis is a transgenic artwork that explores the intricate relationship between biology, belief systems, information technology, dialogical interaction, ethics, and the Internet. The key element of the work is an "artist's gene", a synthetic gene that was created by Kac by translating a sentence from the biblical book of Genesis into Morse Code, and converting the Morse Code into DNA base pairs according to a conversion principle specially developed by the artist for this work. The sentence reads: "Let man have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moves upon the earth." It was chosen for what it implies about the dubious notion--divinely sanctioned--of humanity's supremacy over nature. Morse code was chosen because, as the first example of the use of radiotelegraphy, it represents the dawn of the information age--the genesis of global communication.

The Genesis gene was incorporated into bacteria, which were shown in the gallery. Participants on the Web could turn on an ultraviolet light in the gallery, causing real, biological mutations in the bacteria. This changed the biblical sentence in the bacteria. After the show, the DNA of the bacteria was translated back into Morse code, and then back into English. The mutation that took place in the DNA had changed the original sentence from the Bible. The mutated sentence was posted on the Genesis web site. In the context of the work, the ability to change the sentence is a symbolic gesture: it means that we do not accept its meaning in the form we inherited it, and that new meanings emerge as we seek to change it.....

   more »

Clairvoyance


Odyssey

"Specimen of Secrecy about Marvelous Discoveries" is a series of works comprised of what Kac calls "biotopes", that is, living pieces that change during the exhibition in response to internal metabolism and environmental conditions. Each of Kac’s biotopes is literally a self-sustaining ecology comprised of thousands of very small living beings in a medium of earth, water, and other materials. The artist orchestrates the metabolism of these organisms in order to produce his constantly-evolving living works.

Kac's biotopes expand on ecological and evolutionary issues previously explored by the artist (for example, in his transgenic work "The Eighth Day"). At the same time, the biotopes further develop dialogical principles implemented and theorized by Kac for approximately two decades.

The biotopes are a discrete ecology because within their world the microorganisms interact with and support each other (that is, the activities of one organism enable another to grow, and vice-versa). However, they are not entirely secluded from the outside world : the aerobic organisms within the biotope absorb oxygen from outside (while the anaerobic ones comfortably migrate to regions where air cannot reach). A complex set of relationships emerge as the work unfolds, bringing together the internal dialogical interactions among the microorganisms in the biotope and the interaction of the biotope as a discrete unit with the external world. The biotope is affected by several factors, including the very presence of viewers, which can increase the temperature in the room (warm bodies) and release other microorganisms in the air (breathing, sneezing).

The biotope is what Kac calls a "nomad ecology", that is, an ecological system that interacts with its surroundings as it travels around the world. Every time a biotope migrates from one location to another, the very act of transporting it causes an unpredictable redistribution of the microorganisms inside it (due to the constant physical agitation inherent in the course of a trip). Once in place, the biotope self-regulates with internal migrations, metabolic exchanges, and material settling.....   more »

This demo shows the use of Second Life as a platform for Augmented Reality. With our modified Second Life client, avatars and other Second Life graphicss can be superimposed perspectively correct on a live video stream and in real-time.   more »

human/cow embryonic stem cells
Photo courtesy University of Wisconsin Board of Regents

Although some have concerns about the crossing of human and ape species, the possible creation of a hybrid Hanuman or other entities previously thought to belong only to myth :

"In April 2005, the National Academies -- chartered by Congress to advise the nation on matters of science -- released a report affirming that scientists should be allowed to create such entities if the experiments were approved by special review boards. The advisers came down against the creation of human-monkey or human-ape embryos, as well as experiments in which a human-like brain might develop in a non-human animal" wp.

The UK has just approved research for the crossing the boarders of human bovine species limits to harvest stem cells:

"The bill would allow scientists to continue injecting human DNA into cows' eggs that have had virtually all their genetic material removed, as well as other hybrid embryo processes for stem cell research. Scientists say the embryos would not be allowed to develop for more than 14 days. "wp

In England apparently there has been a long reasoned debate on the issue, one has to wonder however what is going on with embryo research in emerging nations where the market for experimentation may be seen in only the context of its exchange value. Whatever the case it appears our future bodies will in some way or other cohabit, or draw upon a physical (subtle physical) world shared with other species

What follows is a report from the Washington Post on recent events in England along with some further context of chimeras from the Center on Bioethics and Public Policy. rc...

Inter-species hybrids and chimera are entities created from the mixing of two or more different species. Hybrids are organisms whose genetic make up has been created by mixing the genes of two or more species; typically the gametes of two species are fused to create a single zygote. Chimera are organisms consisting of two or more different populations of genetically distinct cells; for example two fertilised eggs or early embryos may be fused together and develop as a single organism....
   more »