While the yogi or mystic plays the central role in Sri Aurobindo's vision of future human evolution that is both spiritual and embodied what becomes apparent in Jackson 2Bears presentation is that when confronting the question of the technological rupture that threatens to tear us from the forms that nature have hereto evolved, that the importance of the artist, who can creatively use technology to reverse the codes of simulated bodies and reconnect us to a concept of being that is co-extensive to spiritual cosmologies, such as those given to us in India or through indigenous people, can not be underestimated.

2Bears demonstrates this in the virtual reality piece that invokes the mystical presences of the traditional Salish LongHouse in the work of the Salish artist Lawrence Paul Yuxweluptun.

Through the works of several aboriginal artist 2Bears demonstrates the profound differences between the dominant Western ontology of the code that takes as its starting point the Cartisian insistence of the mind's separation from the body which leads to a view of the physical as a hell that can be escaped only through transcendence and the cosmologies of Indigenous peoples with their perspectives of embodied spirituality.

He references filmmaker and artist Loretta Todd whose insightful remarks remind us that the differences between poetry, fiction and cyberspace is that while poetry or fiction require the willing suspension of disbelief, cyberspace requires the willing suspension of the flesh.

The role of the artist in keeping embodiment and spirituality relevant for a society that is becoming post human is to use technologies creatively to move us away from the distribution of subjectivity and "the transformations of self in streams of data under the dominant sign of technological transcendence" and a return to flesh -in what N Katherine Hayles calls embodied virtuality - in which virtual transcendence is demystified and embodiment is written back into our post human future.