In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
Technology is continuing to revolutionize many areas of life including creative endeavor. This presentation on Digital Art and Philosophy looks at different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Specific topics include: Design Aesthetics of Meaning-Making: Info Visualization, Democratized Creativity: Performance, Music, Virtual Reality, Gaming, Natural Aesthetics: Generative Art, SynBio, Biomimicry, SocNets, and Portable ArtTech: Identity, Wearable Electronics, the Future. More information: www.MelanieSwan.com/PCA
Natural Aesthetics:Digital Art and Philosophy in the Era of Technologized Bi...Melanie Swan
The arts and technology are coming together in exciting ways in contemporary society. New experimental media such as biology, data, and technology are leading artists, scientists, and other individuals to new realms of knowledge discovery and creative expression. Philosophy, concerned with aesthetics and epistemology (the study of knowledge), provides an interesting lens for understanding current activity in a range of contexts where art, technology, and biology are linked. These contexts include GenerativeArt, BioArt, Biomimicry, Synthetic Biology, and CrowdArt.
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
Technology is continuing to revolutionize many areas of life including creative endeavor. This presentation on Digital Art and Philosophy looks at different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Specific topics include: Design Aesthetics of Meaning-Making: Info Visualization, Democratized Creativity: Performance, Music, Virtual Reality, Gaming, Natural Aesthetics: Generative Art, SynBio, Biomimicry, SocNets, and Portable ArtTech: Identity, Wearable Electronics, the Future. More information: www.MelanieSwan.com/PCA
Natural Aesthetics:Digital Art and Philosophy in the Era of Technologized Bi...Melanie Swan
The arts and technology are coming together in exciting ways in contemporary society. New experimental media such as biology, data, and technology are leading artists, scientists, and other individuals to new realms of knowledge discovery and creative expression. Philosophy, concerned with aesthetics and epistemology (the study of knowledge), provides an interesting lens for understanding current activity in a range of contexts where art, technology, and biology are linked. These contexts include GenerativeArt, BioArt, Biomimicry, Synthetic Biology, and CrowdArt.
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
Natural Aesthetics:Digital Art and Philosophy in the Era of Technologized Bi...Melanie Swan
The arts and technology are coming together in exciting ways in contemporary society. New experimental media such as biology, data, and technology are leading artists, scientists, and other individuals to new realms of knowledge discovery and creative expression. Philosophy, concerned with aesthetics and epistemology (the study of knowledge), provides an interesting lens for understanding current activity in a range of contexts where art, technology, and biology are linked. These contexts include GenerativeArt, BioArt, Biomimicry, Synthetic Biology, and CrowdArt.
With digital art starting to dominate the art industry, it’s safe to assume that some artists may have numerous art pieces, complete and incomplete that need to be organised and saved securely, especially in the case of something happening to the artist. His friends and family may not know where all these art pieces are or what the artist in question would like to do with them.
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Natural Aesthetics:Digital Art and Philosophy in the Era of Technologized Bi...Melanie Swan
The arts and technology are coming together in exciting ways in contemporary society. New experimental media such as biology, data, and technology are leading artists, scientists, and other individuals to new realms of knowledge discovery and creative expression. Philosophy, concerned with aesthetics and epistemology (the study of knowledge), provides an interesting lens for understanding current activity in a range of contexts where art, technology, and biology are linked. These contexts include GenerativeArt, BioArt, Biomimicry, Synthetic Biology, and CrowdArt.
With digital art starting to dominate the art industry, it’s safe to assume that some artists may have numerous art pieces, complete and incomplete that need to be organised and saved securely, especially in the case of something happening to the artist. His friends and family may not know where all these art pieces are or what the artist in question would like to do with them.
Presentation by
Primary Information Services
www.primaryinfo.com
mailto:primaryinfo@gmail.com
Download PDF Version at
https://www.slideshare.net/thorapadi/presentations
See You tube Channel
https://www.youtube.com/user/ch600091/videos?view_as=subscriber
An introductory lesson for GCSE EPQ pupils. The first part of the lesson is focussed on giving information to pupils about the course. The second part is an activity focussed on the August riots in England.
Philosophy, Science, Arts, Technology: World Knowledge Grand UnificationAzamat Abdoullaev
Creating the Future
Reality
Worlds
Philosophy
Science
Arts
Technology
Unification
Global Research and Innovation Space
Superscience
Internet of Everything
Intelligent Internet
Smart WWW
Artificial Intelligence Catalyzes a Revolution for 21st Century Human Creativ...ijtsrd
Art is arguably the most creative form of expression known to mankind. Artificial intelligence has advanced to occupy a position of paramount importance in Science, but seldom do we associate it with Human Creativity in general, and with Modern Art in particular. Creativity is one of the rudimentary constituents of the functioning of machines. By using algorithms, machines churn out representations of shapes, images and structures. Machines are perpetually expanding, redefining and reinventing creativity in their own right. This idea has triggered the birth of a new subfield in Artificial Intelligence known as Computational Creativity. This paper analyzes the diverse ways in which the integrated algorithms of Machine Learning and Artificial Intelligence are cut for producing breakthroughs in the field of 21st Century Modern Arts. Avani Goenka "Artificial Intelligence Catalyzes a Revolution for 21st Century Human Creativity and Modern Art" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-6 | Issue-2 , February 2022, URL: https://www.ijtsrd.com/papers/ijtsrd49150.pdf Paper URL: https://www.ijtsrd.com/computer-science/artificial-intelligence/49150/artificial-intelligence-catalyzes-a-revolution-for-21st-century-human-creativity-and-modern-art/avani-goenka
Hyper-interactivism- ArtRadar: Contemporary Trends in ArtCoach Hall
This trend is a step further into interactive art, combining interaction with immersion in a virtual reality environment (mostly). Immersion is defined as the state of consciousness where a person’s awareness of physical self is diminished or lost by being surrounded in an engrossing total environment - often artificial. The term is widely used for describing immersive virtual reality, installation art and video games. This trend is obviously concerned with the art aspect. An immersive digital environment is an artificial, interactive, computer-created scene or "world" within which users can immerse themselves. Interactive art is generally considered to be something physical and solid to be messed with and moved around, but this trend incorporates computer and, often, projection or film technology. The whole idea is to involve the audience in a virtual, immersive experience. I titled this trend as “hyper-interactivism” or “immersionism” because of that extra level of involvement.
One artist, Maurice Benayoun, created the Tunnel Under the Atlantic and Cosmopolis. The Tunnel features an “entrance” in Paris and one in Monreal, allowing people in those areas to view each other by what has been described as “televirtuality.” Cosmopolis is a very large-scale rotunda of sorts with 12 screens facing a center. There are 12 little view stations that each show a 360 degree view of one of 12 cities. What is being viewed from those view-finders at a particular moment is projected onto the screens, creating a giant 360 degree view of a cityscape created by bits of other cities.
Another artist, Don Ritter, created Vested and Intersection. Intersection features a dark room with 4 speakers representing a 4-lane highway. Each speaker contains a sensor that, when it senses a person, will react by projecting sounds of cars screeching to a halt, accelerating, or crashing.
The last artist I chose for my presentation is Myron W. Krueger. He is an American computer artist who developed early interactive works, and is in the first generation of virtual reality researchers. One of his ideas sums up my trend well: the art of interactivity, as opposed to art that happens to be interactive. He did several pieces of art leading up to this bigger virtual immersion art in the late 60s and early 70s. The piece I featured was Small Planet, which allows the user to stand in from and control what he viewed of this small planet by moving his arms in an airplane fashion.
Slides from the "What Would Picasso Do?" panel session from Over The Air 2010 #ota10 featuring Mathias Dahlström, Jason Fields, Tom Hume, mills™ and Filip Visnjic - moderated by Franco Papeschi and Bryan Rieger.
Digital/Computer Paintings as a Modern- day Igbo Artists’ vehicle for creatin...ikennaaghanya
Revolutions come in many varieties. Some tear down established notions destructively, while others consist of forging new paradigms through constructive means such as an ideological or technological innovation that fundamentally alters an individual or group’s creative path. But all have their place in history. This paper charts a course of change in art and art styles, as been practiced by some modern-day Igbo artists. It follows the meandering path that has been influenced by technological advances that have in turn influenced art culture and practices in technique. In particular, this paper examines how the modern-day processes of digital art have attempted to broaden the modern-day Igbo artist’s knowledge base, and has influenced new ways of doing old things. Together these ideas have impacted modern-day art by creating a fertile landscape allowing an artist’s inquisitive tendency to take root and uniquely flourish. The aim of this paper is to analyze the various digital paintings produced by three modern-day Igbo artists (Ikenna Aghanya, Okechukwu Johnson and Chidi Onwuekwe) and in turn examine how the use of the computer, as an art tool has affected their creative process. The paper will also look at the functions of this medium as it pertains to each of the decorative paintings done by these artists.
RCA Design Products Guest Lecture: From theory to making and back again – or,...Kat Braybrooke
Guest Lecture // Royal College of Art's Design Products MFA series "Exploring Emergent Futures":
“What is called ‘making’ in North America and Europe,” he said, “is, frankly, a luxurious pastime of wealthy people... all over what is called the Global South there are makers everywhere, only they are not called makers. There are fab labs everywhere, only they are not called fab labs.”
— Chris Csikszentmihályi, director MIT Centre for Future Civic Media
What’s happening here? And how can we fix this? This presentation is a call for new perspectives on making that are critical, hands-on and research-based – helping us think both *through* and *with* objects to bring about fundamental + sustainable lifestyle alternatives. It looks at different theoretical approaches to machine materiality, from hacking to social science and "jugaad" to psychogeography, and from Actor Network Theory and Material Semiotics, to Situationism and Relational Aesthetics, to Critical Making and Critical Design.
It also asks two big questions that have been nagging at me from my own experiences with community making + fabrication.
First, how can we better correlate the making of objects with critical reflection about their effects?
Second, how can we engage in sustainable making (both environmental and social) without producing material excesses or disempowering lesser-served communities?
*** Note: This version does not include full lecture notes or further sources for reading. If you'd like either, feel free to get in touch @codekat as I'm happy to share these. ****
The Interactive culture in the XXI centuryFabio Viola
What does it mean culture today? Where, how, why the younger generations are producing and consuming "culture"? Instagram, Wattpad, videogames are models and rivals of museums and theaters today? Slides from the Fabio Viola's talk at the European Commission meeting in Prague about the Future of Heritage.
AI Health Agents: Longevity as a Service in the Web3 GenAI Quantum RevolutionMelanie Swan
Health Agents are a form of Math Agent as the concept of a personalized AI health advisor delivering “healthcare by app” instead of “sickcare by appointment.” Mobile devices
can check health 1000 times per minute as opposed to the standard one time per year doctor’s office visit, and model virtual patients in the digital twin app. As any AI agent, Health Agents “speak” natural language to humans and formal language to the computational infrastructure, possibly outputting the mathematics of personalized homeostatic health as part of their operation. Health Agents could facilitate the ability of physicians to oversee the health of thousands of individuals at a time. This could ease overstressed healthcare systems and contribute to physician well-being and the situation that (per the World Health Organization) more than half of the global population is still not covered by essential health services.
The computational infrastructure is becoming a vast interconnected fabric of formal methods, including per a major shift from 2d grids to 3d graphs in machine learning architectures
The implication is systems-level digital science at unprecedented scale for discovery in a diverse range of scientific disciplines
We know that we are in an AI take-off, what is new is that we are in a math take-off. A math take-off is using math as a formal language, beyond the human-facing math-as-math use case, for AI to interface with the computational infrastructure. The message of generative AI and LLMs (large language models like GPT) is not that they speak natural language to humans, but that they speak formal languages (programmatic code, mathematics, physics) to the computational infrastructure, implying the ability to create a much larger problem-solving apparatus for humanity-benefitting applications in biology, energy, and space science, however not without risk.
This work introduces “quantum intelligence” as a concept of intelligence for operating in the quantum realm may help in a potential AI-Quantum Computing convergence (~2030e), and towards the realization of SRAI for well-being (economics, health, energy, space). “Scale-free intelligence” is formulated as a generic capacity for learning.
AI did not spring onto the scene with chatGPT, but is in an ongoing multi-year adoption. A transition may be underway from an information society to a knowledge society (one tempered and specifically using knowledge to improve the human condition). AI is a dual-use technology with both significant risk and upleveling possibilities.
SRAI for well-being is a social objective, and also a technological objective. SRAI is part of AI development and within the technological trajectory of harnessing all scales of physical reality ranging from quantum materials to space exploration.
Conceptually, thinking in quantum and relativistic terms expands the physical worldview, and likewise the social worldview of entities inhabiting the larger world. Practically, SRAI may be realized in phases: short-term regulation and registries, medium-term agents learning to implement human values with internal reward functions, and long-term responsible human-AI entities acting in partnership in a future of SRAI for well-being.
The Human-AI Odyssey: Homerian Aspirations towards Non-labor IdentityMelanie Swan
The visionary progression in The Odyssey from shipbuilding to seafaring to advanced civilization informs contemporary tension in the human-AI relation forcing a broader articulation of human-identity beyond labor-identity. Edith Hall analyzes why one of the earliest known literatures, The Odyssey, remains a central cultural trope with numerous references in the storytelling vernacular of all eras, ranging from 1860s British theater to a highly-watched 1990 episode of The Simpsons. The argument is that The Odyssey provides a constant aspirational reference for human identity – who we think we are and where we are going on the epic journey of life, especially at the current crossroad in our relationship with technology.
The contemporary moment finds humanity, and the humanities, experiencing an identity crisis in the relationship with technology. Information science is having an ever more pervasive role in academia, and the machine economy continues to offload vast classes of tasks to labor-saving technology giving rise to two questions. First, at the level of labor-identity, humans wonder who they are as they have long defined their sense of self through their professional participation in the economy. Second, at the level of human-identity, with AI now performing cognitive labor in addition to physical labor, humans wonder if there is anything that remains uniquely human.
The effect of The Odyssey is to provide world-expanding imaginaries to change the way we see ourselves as subjects; in this way, Homer is an early modernist in reconfiguring our self-concept.
This work applies a philosophy (of literature)-aided information science method to discuss how Homer’s Odyssey persists as a literary imaginary to help us think through potential futures of human-AI flourishing as rapid automation continues to impact humanity. The intensity of the human-AI relation is likely to increase, which invites thought leadership to steward the transition to a potential AI abundance economy with fulfilling human-technology collaboration.
The shipbuilding-seafaring-advanced civilization progression in The Odyssey identifies that the human-AI relation is not one of the labor-identity-crisis of “robots stealing our jobs,” but rather one of the more difficult challenge of envisioning who we can be in the new larger world of human-AI partnership addressing a larger set of planetary-scale problems. Towards this new configuration of human-AI relation, the longer-term may hold radically different notions of identity, as we become physical-virtual hybrids, augmented post-disease entities in the health-faring, space-civilizing, energy-marshalling post-scarcity cultures of the future.
AdS Biology and Quantum Information ScienceMelanie Swan
Quantum Information Science is a fast-growing discipline advancing many areas of science such as cryptography, chemistry, finance, space science, and biology. In particular AdS/Biology, an interpretation of the AdS/CFT correspondence in biological systems, is showing promise in new biophysical mathematical models of topology (Chern-Simons (solvable QFT), knotting, and compaction). For example, one model of neurodegenerative disease takes a topological view of protein buildup (AB plaques and tau tangles in Alzheimer’s disease, alpha-synuclein in Parkinson’s disease, TDP-43 in ALS). AdS/Neuroscience methods are implicated in integrating multiscalar systems with different bulk-boundary space-time regimes (e.g. oncology tumors, fMRI + EEG imaging), entanglement (correlation) renormalization across scales (MERA, random tensor networks, melonic diagrams), entropy (possible system states), entanglement entropy (interrelated fluctuations and correlations across system tiers), and non-ergodicity (implied efficiency mechanisms since biology does not cycle through all possible configurations per temperature (thermotaxis), chemotaxis, and energy cues); Maxwell’s demon of biology (partition functions), conservation across system scales (biophysical gauge symmetry (system-wide conserved quantity)), and the presence of codes (DNA, codons, neural codes). A multiscalar AdS/CFT correspondence is mobilized in 4-tier ecosystem models (light-plankton-krill-whale and ion-synapse-neuron-network (AdS/Brain)).
Humanity’s constant project is expanding the range of attainable geography. Melville’s romance of the sea gives way to Kerouac’s romance of the road, and now the romance of space. In expanding into new geographies, markets (commerce) is the driving impulse, entailing a legal and judiciary system to order the new larger continuous marketplace, which brings a bigger overall scope of world under our control, and hence a new idea of who we are as subjects in this bigger domain.
Space Humanism is a concept of humanism based on the principles of inclusion, progress, and equity posited as a condition of possibility for a potential large-scale human movement into space. A philosophy of literature approach is used to contextualize Space Humanism, first through Melville-Foucault to articulate the mind-frame of extra-planetary geographies as one of human expansion, and second through posthuman philosophy extending from Shakespeare’s Renaissance humanism to contemporary enhancement-based theories of subjectivation.
Historical imaginaries outline subjectivation moments that have changed the whole notion who we are as humanity. Four examples are: the concept of the “new world” in Hegel’s philosophy, von Humboldt’s infographic maps, Baudelaire as the Painter of Modern Life, and Keats’s seeing the world in a new way upon reading an updated translation of Homer.
The reach to beyond-Earth geographies is a two-cultures project involving both arts and science. Technical competence is necessary to realize the aspirational, explorational, and survivalist aims of humanity pushing beyond planetary limits. Space was once a fantastic dream that is becoming quotidian with fourteen U.S. spaceports, six completed Blue Origin space tourist missions, and SpaceX having over 155 successful rocket launches including human space flights to and from the International Space Station. The notion of Space Human articulated through Shakespeare, Moby-Dick, and neuroenhancement informs the project of our reach to awaiting beyond-Earth geographies.
Quantum Information Science and Quantum Neuroscience.pptMelanie Swan
Mathematical advance in quantum information science is proceeding quickly and applies to many fields, particularly the complexities of neuroscience (here focusing on image-readable physical behaviors such as neural signaling, as opposed to higher-order operations of cognition, memory, and attention). Quantum mathematical models are extensible to neuroscience problem classes treating dynamical time series, diffusion, and renormalization in multiscalar systems. Approaches first reconstruct wavefunctions observed in EEG and fMRI scans. Second, single-neuron models (Hodgkin-Huxley, integrate-and-fire, theta neurons) and collective neuron models (neural field theories, Kuramoto oscillators) are employed to model empirical data. Third, genome physics is used to study time series sequence prediction in DNA, RNA, and proteins based on 3d+ complex geometry involving fields, curvature, knotting, and information compaction. Finally, quantum neuroscience physics is applied in AdS/Brain modeling, Chern-Simons biology (topological invariance), neuronal gauge theories, network neuroscience, and the chaotic dynamics of bifurcation and bistability (to explain epileptic and resting states). The potential benefit of this work is an improved understanding of disease and pathology resolution in humans.
Quantum information science enables a new tier of scientific problem-solving as exemplified in early-adopter fields, foundational tools in quantum cryptography, quantum machine learning, and quantum chemistry (molecular quantum mechanics), and advanced applications in quantum space science, quantum finance, and quantum biology
Grammatology and Performativity: A Critical Theory of Silence: Silence is a crucial device for subversion, opposition, and socio-political commentary, the theoretical underpinnings of which are just starting to be understood. This work illuminates another position in the growing field of critical silence studies, theorizing silence as an asset whose ontological value has been lost in a world of literal and figurative noise. Part 1 philosophizes silence as a continuation of Derrida’s grammatology project. Such a grammatology of silence valorizes silent thinking over noisy speaking, and identifies the deconstructive binary pairing not as silence-speaking, but rather as silence-noise. Noise has a simultaneous physical-virtual existence as Shannon entropy calculates signal-to-noise ratios in modern communications networks. Part 2 employs the philosophy of noise to assess what is conceptually necessary to overcome noise in a critical theory of silence. Malaspina draws from Simondon to argue that noise is a form of individuation, essentially a living thing with unstoppable growth potential, not defined by a binary on-off switch but as a matter of gradation. Hence different theory resources are required to oppose it. Part 3 then develops a critical theory of silence to oppose noise in both its physical and virtual instantiations, with the two arms of a deeply human positive performativity (Szendy, Bennett) and a beyond-computational posthumanism (Puar). The result is a novel critical theory of silence as positive performativity that destabilizes noise and recoups the ontological status of silence as not merely an empty post-modern reification but a meaningful actuality.
Philosophy-aided Physics at the Boundary of Quantum-Classical Reality The philosophical themes of truth-knowledge and appearance-reality are used to interrogate the contemporary situation of the quantum-classical boundary, and more broadly the quantum-classical-relativistic stratification of physical scale boundaries. The contemporary moment finds us at breakneck pace in the industrial information revolution, digitizing remaining matter-based industries into a seamless exchange between physical-digital reality. Digitized news is giving way to digitized money and perhaps in the farther future, digitized mindfiles (such as personalized connectome files for precision medicine, autologous (own-DNA) stem cell therapies, and CRISPR for Alzheimer’s disease prevention). Our technologies are allowing us control over vast new domains, the relativistic with GPS and space-faring, and the quantum with quantum computing, harnessing the properties of superposition, entanglement, and interference. Philosophy provides critical thinking tools that can help us understand and master these rapid shifts in science and technology to avoid an Adornian instrumental reality (subsuming humanity under societal structures) and to maintain a Heideggerian backgrounded and enabling relation with technology (versus technology enframing us into mindless standing reserve).
The philosophical theme underlying the investigation of the scales of planets, persons, and particles is the relationship between truth and knowledge (or appearance and reality). The truth-knowledge problem is whether knowledge of the truth, true knowledge, the reality under the appearance, is even possible. Three salient moments in the history of the truth-knowledge problem are examined here. These are the German idealism of Kant and Hegel, the deconstructive postmodernism of Foucault and Derrida, and the unclear leanings of the current moment. The German idealism lens incorporates the self-knowing subject as agent into the truth and knowledge problem. The postmodernist view breaks with the subject and emphasizes the hidden opposites in the formulations, the constant reinterpretation of meaning, and porous boundaries. The contemporary moment wonders whether truth-knowledge boundaries still hold, in a Benjaminian view of non-identity between truth and knowledge, and truth increasingly being seen as a Foucauldian biopolitical manufactured quantity. Contemporaneity has a bimodal distribution of the subject: the hyperself (the constantly digitally represented selfie self) and the alienated post-subject subject.
These moments in the truth and knowledge debate inflect into the scale considerations of relativity, classicality, and quantum mechanics. Whereas general relativity and quantum mechanics are domains of universality, totality, and multiplicity, everyday classical reality is squeezed in as a belt between the two multiplicities as the concretion of drawing a triangle or tossing a ball. Recasting truth and k
Comprehensive philosophical programs arise within a historical context (for Hegel and Derrida in the democracy-shaping moments of the French Revolution (1789) and the student-worker protests (1968) in which French politics serve as a global harbinger of contemporary themes). In the Derrida-Hegel relationship, there is more rapprochement concerning core notions of difference, history, and meaning-assignation than may have been realized. In particular, Hegel’s philosophy, despite being assumed to be a totalizing system, in fact indicates precisely some of the same kinds of revised metaphysics-of-presence formulations that Derrida exhorts, namely those that are flexible, expansive, and include non-identity and identity.
A crucial Derrida-Hegel interchange is that of différance and difference. Derrida develops the notion directly from Hegel (“Différance,” “The Pit and the Pyramid”), but only draws from the Encyclopedia, not Hegel’s masterwork, the Phenomenology of Spirit. For Derrida, the “A” in différance is inspired by the form of the pyramid in the capitalized letter and in Hegel’s comparing the sign “to the Egyptian Pyramid” (“Différance,” p. 3). Derrida invokes the symbolism of the pyramid, antiquity, and Egyptian hieroglyphics as an early semiotic system. However, when considering Hegel’s central definition of difference in the dialectical progression of thesis-antithesis-synthesis in the Phenomenology of Spirit (§§159-163), the articulations of différance and difference are remarkably aligned.
Parallel formulations are also seen in history as a series of reinterpretable events, and indexical wrappers as a mechanism for meaning assignation. The thinkers examine the universal and the particular by exploring regulative mechanisms such as law (natural and social). In Glas, Derrida highlights not the singular-universal relation, but the law of singularity and the law of universality relation as being relevant to Hegel’s Antigone interpretation (Glas, p. 142a), a theme continued in “Before the Law.” Finally (time permitting), there is a question whether the most valid critiques of Hegel (Nietzsche’s unreason and Benjamin’s non-synthesis), as alternatives to Hegelian dialectics, are visible in Derrida’s thought.
The upshot is that the two thinkers produce similar formulations, derived from different trajectories of philosophical work; a situation which points to the potential universality of fundamental solution classes to open-ended philosophical problems, including the future of democracy.
Quantum Moreness: Kantian Time and the Performative Economics of Multiplicity
There is no domain with greater moreness than that of the quantum. A philosophy-aided physics approach (postmodernism and Continental philosophy) examines the contemporary situation of quantum moreness (more time and space dimensions than are available classically). Quantum moreness is configured by quantum reality being probabilistic; a multiplicity of outcomes all co-existing in superposition until collapsed in measurement. The quantum mindset uses quantum moreness to solve problems by thinking in terms of the greater scalability afforded in time and space with the quantum properties of superposition, entanglement, and interference. Quantum studies fields proliferate in arts and sciences, raising the Levi-Straussian raw-cooked dilemma of how “traditional humanities” are to be named alongside “digital humanities” and “quantum humanities.” Kant facilitates the conceptualization of quantum moreness by insisting on the dual nature of time as transcendentally ideal and empirically real. Kant’s moreness is allness, the absolute totality and multiplicity of time at the ideal level. Each faculty (sensibility, understanding, reason) has its own species of the a priori synthetic unity of ideal time that precedes and conditions the operation of the faculty. Each faculty also has a concretized formulation of empirically-real time as the time series, which is the basis for the faculties to interoperate to perform the conception of any empirical object. Kant’s achievement of time interoperability has potential extensibility to other areas of temporal incompatibility such as the scales of general relativity, Newtonian mechanics (human-scale), and quantum mechanics. The quantum moreness mindset with which Kant connects the ideal-real is visible in the domain of economics, itself too an ideal-real construction. The quantum moreness of money configures the postmodern abstraction of global cryptocurrencies and smart contract pledges, the implicative hope of which is a post-debt capital world that restores the human esprit in the face of an increasingly intense technologized reality.
Blockchain Crypto Jamming: Subverting the Instrumental Economy
The ultimate subversion is money, refusing the pecuniary resources of the state. This project applies a philosophical and critical theory lens to examine the use of nomenclature in one of the most radical longitudinal transformations in contemporary times, the shift away from state-run monetary resources towards cryptocurrencies and smart contracts in citizen-determined decentralized financial networks.
A Cryptoeconomic Theory of Social Change is presented in which linguistic progression serves as a tracking mechanism. The steps to lasting change have their own vocabulary (Brandom). First, there is the social critique, the complaint about what is wrong, the negative side (Adorno and Horkheimer highlight instrumental reason and the empty culture industry). Second, there is the antidote, an alternative that can overcome the complaint, the positive side. Third, the solution becomes the new reality, and as a consequence, the whole of reality is now seen in this context, adopting its vocabulary (“fiat health” system for example, referring to the antiquated method). The social movement graduates from language game (Wittgenstein) to form of life (Jaeggi).
Blockchains are Occupy with teeth, notable in the level of personal responsibility-taking by individuals to steward their own financial resources. The crypto citizen is not merely trading CryptoKitties and Bored Ape Yacht Club tokens, but getting blocktime loans through DeFi liquidity pools instead of fiat banks, earning labor income in crypto, and shifting all economic activity to blockchain networks. The artworld signals mainstream acceptance with Christie’s non-fungible token digital artwork auctioned from Beeple for $61 million. At the global level, coin communities constitute a new form of Kardashev-level (planetary-scale) democracy. Blockchains emerge as a robust smart network automation technology for super-class projects ranging from space-faring to quantum computing and thought-tokening. The further stakes of this work are having a language-based theory of social change with broad applicability to social transformation.
This work argues that the emerging understanding of time in quantum information science can be articulated as a philosophical theory of change. Change and time are interrelated, and one can be used to interrogate the other, namely, a theory of change can be derived from a theory of time. What is new in quantum science is time being regarded as just another property to be engineered. At the quantum scale, time is reversible in certain ways, which is quite different from the everyday experience of time whose unidirectional arrow does not allow a dropped egg to reassemble. At the quantum scale of atoms, though, a particle retains the history of its trajectory, which may be retraced before collapsed in measurement.
Quantum scientists evolve systems backward and forward in time, controlling phase transitions with Floquet engineering. Quantum systems are entangled in time and space, with temporal correlations exhibiting greater multiplicity than spatial correlations. The chaotic time regimes of ballistic spread followed by saturation are implemented in quantum walks for faster search and heightened cryptosecurity. In quantum neuroscience, seizure may be explained by chaotic dynamics and normal resting state by Floquet-like periodic cycles. Time is revealed to have the same kinds of repeating structures as space (described by entanglement, symmetry, and topology), differently instantiated and controlled.
The quantum understanding of time can be propelled into a macroscale-theory of change through its connotation of a more flexible, malleable, probabilistic interface with reality. Change becomes less rigid. Probability is the lever of change, but notoriously difficult for humans to grasp, as we think better in storylines than statistics. The idea of manipulating quantum system properties in which time, space, dynamics (change), are all just parameters, is an empowering frame for the acceptance of change. The quantum mindset affords greater facility with probability-driven events (change).
Blockchains in Space: Non-Euclidean Spacetime and Tokenized Thinking - Two requirements for the large-scale beyond-terrestrial expansion of human intelligence into the universe are the ability to operate in diverse spatiotemporal regimes and to instantiate thinking in various formats. Newtonian mechanics describe everyday reality, but Einsteinian physics is needed for GPS and the orbital technologies of telescopes and spacecraft. Space agencies already integrate the Earth-day and the slightly-longer Martian-sol. A more substantial move into space requires facility with non-Euclidean spacetimes. One challenge is that general relativity and quantum mechanics are non-interoperable. However, the theories can be formulated together when considering black holes and quantum computing since geometric theories and gauge theories are both field-based. Quantum blockchains instantiate blockchain logic in quantum computational environments. Blockchains have their own temporal regime (blocktime: the number of blocks for an event to occur), and hence quantum blocktime is a non-classical functionality for operating in diverse spatiotemporal regimes. Thinking is a rule-based activity that is unrestricted by medium. Central to thinking is concepts, which are referenced by words. Word-types include universals, particulars, and indexicals which can be encoded into a formal system as thought-tokens, and registered to blockchains. Blockchains are contemplated as an automation technology for asteroid mining and space settlement construction, and thought-tokening adds an intelligence layer. Time and tokenized thinking come together in the idea of smart networks in space. In blockchain quantum smart networks, spatiotemporal regimes and thought-tokens are simply different value types (asset classes) coordinated with blockchain logic, towards the aim of extending human capabilities into the farther reaches of space.
Cryptography, entanglement, and quantum blocktime: Quantum computing offers a more scalable energy-efficient platform than classical computing and supercomputing, and corresponds more naturally to the three-dimensional structure of atomic reality. Blockchains are a decentralized digital economic system made possible by the 24-7 global nature of the internet.
Quantum Neuroscience: CRISPR for Alzheimer’s, Connectomes & Quantum BCIsMelanie Swan
This talk provides an introduction to quantum computing and how it may be deployed to study the human brain and its diseases of pathology and aging. Refined to its present state over centuries, the brain is one of the most complex systems known, with 86 billion neurons and 242 trillion synapses connected in intricate patterns and rewired by synaptic plasticity. Research continues to illuminate the mysteries of the brain. Quantum computing provides a more capacious architecture with greater scalability and energy efficiency than current methods of classical computing and supercomputing, and more naturally corresponds to the three-dimensional structure of atomic reality. The vision for quantum neuroscience is to model the nature of the brain exactly as it is, in three-dimensional atomically-accurate representations. Neuroscience (particularly genetic disease modeling, connectomics, and synaptomics) could be the “killer application” of quantum computing. Implementations in other industries are also important, including in quantum finance, quantum cryptography using Shor’s factoring algorithm (“the Y2K of Crypto”), Grover’s search, quantum chemistry, eigensolvers, quantum machine learning, and continuous-time quantum walks. Quantum computing is a high-profile worldwide scientific endeavor with platforms currently available via cloud services (IBM Q 27-qubit, IonQ 32-qubit, Rigetti 19Q Acorn) and is in the process of being applied in various industries including computational neuroscience.
Art Theory: Two Cultures Synthesis of Art and ScienceMelanie Swan
Thesis: Aesthetic resources contribute broadly to the human endeavor of progress, self-understanding, and science, beyond the immediate experience of art. Aesthetic Resources are frameworks, concepts, and modes of expression in art, literature, and philosophy that capture the imagination and the intellect through the senses. The role of art is to inspire the future: the romance of the sea, the open road, space.
The arts are a hallmark of civilization, but can their benefit be crystallized as aesthetic resources that can be mobilized to new situations? How can aesthetic resources help in moments of crisis?
A worldwide social identity crisis has been provoked by pandemic recovery, politics, equity, and environmental sustainability. Philosophical and aesthetic resources can help. Understanding art as a reflection of who we are as individuals and groups, this talk explores conceptualizations of art, with examples, in different periodizations from the 1800s to the present. A marquis definition as to what constitutes an artwork is Adorno’s, for whom the work must promulgate its own natural law and engage in novel materials manipulation. For many theorists, art is the pressing of our self-concept into concrete materiality (whether pyramids, sculpture, or painting). What do contemporary periodizations of art mean to our current and forward-looking self-concept? Recent eras include the neo-avant-gardes of 1945, the conceptual art of the 1960s, and post-conceptual art starting in the 1970s, produced generatively with found materials, the digital domain, and audience interactivity. What is the now-current idea of art? Is today’s Baudelairian flâneur and Balzacian modern hero incarnated in the quantum aesthetic imaginary and the digital cryptocitizen? Far from an “end of art” thesis sometimes attributed to Hegel, aesthetic practices are more relevant than ever. Individually and societally, we are reinventing creative energy and productive imagination in venues from science, technology, health, and biology to the arts.
State of ICS and IoT Cyber Threat Landscape Report 2024 previewPrayukth K V
The IoT and OT threat landscape report has been prepared by the Threat Research Team at Sectrio using data from Sectrio, cyber threat intelligence farming facilities spread across over 85 cities around the world. In addition, Sectrio also runs AI-based advanced threat and payload engagement facilities that serve as sinks to attract and engage sophisticated threat actors, and newer malware including new variants and latent threats that are at an earlier stage of development.
The latest edition of the OT/ICS and IoT security Threat Landscape Report 2024 also covers:
State of global ICS asset and network exposure
Sectoral targets and attacks as well as the cost of ransom
Global APT activity, AI usage, actor and tactic profiles, and implications
Rise in volumes of AI-powered cyberattacks
Major cyber events in 2024
Malware and malicious payload trends
Cyberattack types and targets
Vulnerability exploit attempts on CVEs
Attacks on counties – USA
Expansion of bot farms – how, where, and why
In-depth analysis of the cyber threat landscape across North America, South America, Europe, APAC, and the Middle East
Why are attacks on smart factories rising?
Cyber risk predictions
Axis of attacks – Europe
Systemic attacks in the Middle East
Download the full report from here:
https://sectrio.com/resources/ot-threat-landscape-reports/sectrio-releases-ot-ics-and-iot-security-threat-landscape-report-2024/
UiPath Test Automation using UiPath Test Suite series, part 3DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 3. In this session, we will cover desktop automation along with UI automation.
Topics covered:
UI automation Introduction,
UI automation Sample
Desktop automation flow
Pradeep Chinnala, Senior Consultant Automation Developer @WonderBotz and UiPath MVP
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
Securing your Kubernetes cluster_ a step-by-step guide to success !KatiaHIMEUR1
Today, after several years of existence, an extremely active community and an ultra-dynamic ecosystem, Kubernetes has established itself as the de facto standard in container orchestration. Thanks to a wide range of managed services, it has never been so easy to set up a ready-to-use Kubernetes cluster.
However, this ease of use means that the subject of security in Kubernetes is often left for later, or even neglected. This exposes companies to significant risks.
In this talk, I'll show you step-by-step how to secure your Kubernetes cluster for greater peace of mind and reliability.
GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using Deplo...James Anderson
Effective Application Security in Software Delivery lifecycle using Deployment Firewall and DBOM
The modern software delivery process (or the CI/CD process) includes many tools, distributed teams, open-source code, and cloud platforms. Constant focus on speed to release software to market, along with the traditional slow and manual security checks has caused gaps in continuous security as an important piece in the software supply chain. Today organizations feel more susceptible to external and internal cyber threats due to the vast attack surface in their applications supply chain and the lack of end-to-end governance and risk management.
The software team must secure its software delivery process to avoid vulnerability and security breaches. This needs to be achieved with existing tool chains and without extensive rework of the delivery processes. This talk will present strategies and techniques for providing visibility into the true risk of the existing vulnerabilities, preventing the introduction of security issues in the software, resolving vulnerabilities in production environments quickly, and capturing the deployment bill of materials (DBOM).
Speakers:
Bob Boule
Robert Boule is a technology enthusiast with PASSION for technology and making things work along with a knack for helping others understand how things work. He comes with around 20 years of solution engineering experience in application security, software continuous delivery, and SaaS platforms. He is known for his dynamic presentations in CI/CD and application security integrated in software delivery lifecycle.
Gopinath Rebala
Gopinath Rebala is the CTO of OpsMx, where he has overall responsibility for the machine learning and data processing architectures for Secure Software Delivery. Gopi also has a strong connection with our customers, leading design and architecture for strategic implementations. Gopi is a frequent speaker and well-known leader in continuous delivery and integrating security into software delivery.
DevOps and Testing slides at DASA ConnectKari Kakkonen
My and Rik Marselis slides at 30.5.2024 DASA Connect conference. We discuss about what is testing, then what is agile testing and finally what is Testing in DevOps. Finally we had lovely workshop with the participants trying to find out different ways to think about quality and testing in different parts of the DevOps infinity loop.
Generating a custom Ruby SDK for your web service or Rails API using Smithyg2nightmarescribd
Have you ever wanted a Ruby client API to communicate with your web service? Smithy is a protocol-agnostic language for defining services and SDKs. Smithy Ruby is an implementation of Smithy that generates a Ruby SDK using a Smithy model. In this talk, we will explore Smithy and Smithy Ruby to learn how to generate custom feature-rich SDKs that can communicate with any web service, such as a Rails JSON API.
Encryption in Microsoft 365 - ExpertsLive Netherlands 2024Albert Hoitingh
In this session I delve into the encryption technology used in Microsoft 365 and Microsoft Purview. Including the concepts of Customer Key and Double Key Encryption.
UiPath Test Automation using UiPath Test Suite series, part 4DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 4. In this session, we will cover Test Manager overview along with SAP heatmap.
The UiPath Test Manager overview with SAP heatmap webinar offers a concise yet comprehensive exploration of the role of a Test Manager within SAP environments, coupled with the utilization of heatmaps for effective testing strategies.
Participants will gain insights into the responsibilities, challenges, and best practices associated with test management in SAP projects. Additionally, the webinar delves into the significance of heatmaps as a visual aid for identifying testing priorities, areas of risk, and resource allocation within SAP landscapes. Through this session, attendees can expect to enhance their understanding of test management principles while learning practical approaches to optimize testing processes in SAP environments using heatmap visualization techniques
What will you get from this session?
1. Insights into SAP testing best practices
2. Heatmap utilization for testing
3. Optimization of testing processes
4. Demo
Topics covered:
Execution from the test manager
Orchestrator execution result
Defect reporting
SAP heatmap example with demo
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
Connector Corner: Automate dynamic content and events by pushing a buttonDianaGray10
Here is something new! In our next Connector Corner webinar, we will demonstrate how you can use a single workflow to:
Create a campaign using Mailchimp with merge tags/fields
Send an interactive Slack channel message (using buttons)
Have the message received by managers and peers along with a test email for review
But there’s more:
In a second workflow supporting the same use case, you’ll see:
Your campaign sent to target colleagues for approval
If the “Approve” button is clicked, a Jira/Zendesk ticket is created for the marketing design team
But—if the “Reject” button is pushed, colleagues will be alerted via Slack message
Join us to learn more about this new, human-in-the-loop capability, brought to you by Integration Service connectors.
And...
Speakers:
Akshay Agnihotri, Product Manager
Charlie Greenberg, Host
1. Image: Emese
Szorenyi
Digital Art and Philosophy #1
Melanie Swan
University of the Commons and the Emerald Tablet Gallery
Syllabus: http://www.MelanieSwan.com/PCA
Slides: http://www.slideshare.net/lablogga
4. What is Digital Art? ‘Official’
Definitions
• “Digital art is anything involving computers and
art such as using a computer to create art or
digitized art displays” – EB Boyd, Writer
• “Digital art is using new technologies for the
digital, computer-based composition, display, and
reproduction of images and sounds” – Katherine
Thomson-Jones, Professor
• “Digital art is a general term for a range of artistic
works and practices that use digital technology as
an essential part of the creative and/or
presentation process” – Christiane Paul, Curator
4
5. Reading: What is New Media? by Lev
Manovich (2001)
• New media:
– Internet, websites, computer multimedia, computer games,
CD-ROMs & DVDs, virtual reality, and possibly many other
areas
• New media revolution:
– Shift of all of our culture to computer-mediated forms of
production, distribution, and communication
• Simultaneous development of modern media and
computers (1800s daguerreotype, punch card loom,
Babbage analytical engine):
– Media machines and computing machines are necessary
for modern mass societies to function
• Situating digital art: Art eras: representational art
(reality), abstract art and photography, digital art
5
6. "Every culture will use the maximum level of technology
available to it to make art" - Scott Draves, Generative Artist
http://www.youtube.com/watch?v=x0OK1GiI83s
6
8. Classic definitions of art
• “Art is the expression or application of human creative
skill and imagination, typically in a visual form such as
painting or sculpture” – Wikipedia
• Art “…is a means of union among men, joining them
together in the same feelings … towards the well-being
of individuals and of humanity.” – Leo Tolstoy
• “Art is a discovery and development of elementary
principles of nature into beautiful forms suitable for
human use.” – Frank Lloyd Wright
• “Art is not a thing — it is a way.” - Elbert Hubbard
8
9. An Essay in Aesthetics by Roger Fry
(1909)
“A certain painter, not without some reputation at the
present day, once wrote a little book on the art he
practices, in which he gave a definition of that art so
succinct that I take it as a point of departure for this
essay. 'The art of painting', says that eminent
authority, 'is the art of imitating solid objects upon a
flat surface by means of pigments.' It is delightfully
simple, but prompts the question - Is that all?”
9
10. An Essay in Aesthetics by Roger Fry
(1909)
“A great part of human life is made up of instinctive reactions to sensible
objects, and their accompanying emotions. But man has the peculiar faculty
of calling up again in his mind the echo of past experiences of this kind, of
going over it again, 'in imagination' as we say. He has, therefore, the
possibility of a double life; one the actual life, the other the imaginative life.”
“Between these two lives there is this great distinction, that in the actual life
the processes of natural selection have brought it about that the instinctive
reaction, such, for instance, as flight from danger, shall be the important part
of the whole process, and it is towards this that the man bends his whole
conscious endeavour. But in the imaginative life no such action is necessary,
and, therefore, the whole consciousness may be focused upon the perceptive
and the emotional aspects of the experience. In this way we get, in the
imaginative life, a different set of values, and a different kind of perception.”
10
11. An Essay in Aesthetics by Roger Fry
(1909)
“The graphic arts are the expression of the imaginative life.
Art is an expression and a stimulus of this imaginative
life, which is separated from actual life by the absence of
responsive action. Now this responsive action implies in
actual life moral responsibility.”
“In art we have no such moral responsibility - it presents a
life freed from the binding necessities of our actual
existence. Art is the chief organ of the imaginative life; it is
by art that it is stimulated and controlled within us, and, as
we have seen, the imaginative life is distinguished by the
greater clearness of its perception, and the greater purity
and freedom of its emotion.”
11
13. What is Digital Art?
Democratized Creativity: Performance, Music, VR, Gaming.
13
14. What is Digital Art?
http://www.plummerfernandez.com/Digital-Natives 14
15. What is Digital Art?
Design Aesthetics of Meaning-Making: Info Visualization.
Social network visualization
of voting patterns of U. S.
Senators during 2007
15
16. What is Digital Art?
Design Aesthetics of Meaning-Making: Info Visualization.
16
17. What is Digital Art?
Natural Aesthetics: BioArt, GenArt, SynBio, Biomimicry, CrowdArt.
17
18. What is Digital Art?
Portable ArtTech: Identity, Wearable Electronics, the Future.
18
19. What is (early) Digital Art?
Hypertext, hypermedia, net.art, web art.
19
20. What is Digital Art?
Tactical Media, Hactivism, Electronic Civil Disobedience.
Graffiti Research Lab and Stiktu augmented
reality social graffiti app from Layar
20
21. Why Philosophy?
• Branches of philosophy
– Metaphysics
– Epistemology
– Aesthetics
• Aesthetics deals with the
nature and expression of
art and beauty
21
22. What Philosophical Issues arise with
Digital Art?
• What is art?
• Why does art matter?
• How does art engage us?
• How does digital art change
our notions of
– Identity
– Performance
– Interactivity
– Creativity
22
23. A Sudden Gust of Wind (after Hokusai) by Jeff Wall (1993)
http://www.tate.org.uk/art/artworks/wall-a-sudden-gust-of-wind-after-hokusai-t06951
24. Travellers Caught in a Sudden breeze at Ejiri by Katsushika Hokusai (1832) from
The Thirty-six Views of Fuji 24
25. Philosopher: Mark Hansen
Production of Images
“The disembodiment characteristic of the virtual image is synonymous
with its dependence on the activity of the body-brain: lacking any
material autonomy of its own, the image does not preexist its
actualization and can be given body only through this activity.... here it
is the very divide between the virtual and the physical that is most
significant. The aesthetic experience solicited by these works
juxtaposes a spectatorial synthesis that seamlessly fuses virtual and
physical space with a background awareness, triggered by certain
material elements, that the events thus fused belong to incompossible
space-times. In this way, attention is drawn to the capacity of the
spectator's body-brain activity effortlessly to produce a virtual image
out of heterogeneous material.” - New Philosophy for New
Media, 2006, p. 61
Summary: The virtual image lacks any material autonomy of its
own and is produced by the viewer 25
26. Digital Artist: Jeffrey Shaw
The Legible City by Jeffrey Shaw (1988-1991)
http://www.medienkunstnetz.de/works/the-legible-city/
Video: http://www.medienkunstnetz.de/works/the-legible-city/video/1/
26
27. Digital Artist: Douglas Gordon
Play Dead Real Time by Douglas Gordon (2003)
http://www.youtube.com/watch?v=Q-XD6fuf0ho
Henry Rebel (2011)
Video installation, two HD video
projections, sound, 93 min, looped
27
28. Digital Artist: Bill Viola
The Crossing by Bill Viola (2009)
http://www.youtube.com/watch?v=fHqhaH6m9pY
28
29. Production of the Virtual Image
• The image in digital art goes
beyond the merely visual
• The digital image
encompasses the process by
which information is made
perceivable
• The virtual image lacks any
material autonomy of its own
and is produced by the
viewer
• ‘Image’ or ‘image’ and story
29
30. Philosopher: Dominic Lopes
• Reading: “A Review of A Philosophy of
Computer Art by Dominic Lopes” by Timothy
Binkley (2010)
• Sudden ubiquity of computers and their ability
to turn abstractions into experiences
• What features of computer-based works make
them works in the computer art form and set
them apart from other kinds of art?
– Digital art: it is art, made by computer or made
for display by a computer, in a common digital
code
– Computer art: it is art, run on a
computer, interactive, interactive because it is
run on a computer
30
31. Digital Artist: Jeffrey Shaw
Golden Calf by Jeffrey Shaw (1994)
http://www.youtube.com/watch?v=paaacEIF6wU
http://www.youtube.com/watch?v=0yeIQB2o8xc
31
32. Digital Artist: Ken Goldberg
Telegarden by Ken Goldberg (1995–2004)
http://www.youtube.com/watch?v=gbyy5vSg8w8
32
33. Digital Artist: Scott Snibbe
Boundary Functions by Scott Snibbe (1998)
http://www.snibbe.com/projects/interactive/boundaryfunctions/
http://www.youtube.com/watch?v=_Ax4pgtHQDg
33
34. Digital Artist: Hisako Yamakawa
Kodama—Mischievous Echoes by Hisako Yamakawa (2005)
http://www.filefestival.org/site_2007/pop_trabalho.asp?id_trabalho=2293&cd_idiom
a=2&acao=visualizar&
http://www.ntticc.or.jp/Archive/2006/Openspace/art_technology/emergencies.html#
e001
34
35. Audio example - EMI
http://www.snibbestudio.com/#/ REWORK
Interactive Philip Glass remixes by
Beck, Amon Tobin, and more
35
36. Computer Art
• It is art, run on a
computer, interactive, inter
active because it is run on a
computer
36
37. Why is Interactivity so important?
A-Volve by Christa Sommerer and Laurent Mignonneau (1994)
http://www.medienkunstnetz.de/works/a-volve/
37
38. Interactivity
Text Rain by Camille Utterback (1999)
• Audience can be in
conversation with the work
• Audience can create the
work
• Artist has more ways to
communicate with the
audience
• Artist can be in
conversation with his/her
own process
• Interactivity is evocative
38
39. Interactivity: a complex cognitive
behavior
Model of Interactivity Developed by Don Norman
Source: Understanding Interactivity, p. 34
39
40. Merleau-Ponty
• The Phenomenology of Perception (1945)
• Perception is not stimuli reception
• Perception is a process of continuous interaction
involving the subject's intentions, expectations, and
physical actions in "communion" with its surroundings
– Perception is related to intentionality (goal-directedness)
• Two threads re: philosophy of digital art
– Dominic Lopes: Interactivity is related to deeply evocative
viewer responses, complex cognitive behavior, and the
process of perception
– Mark Hansen: Virtual image production is the process by
which information is made perceivable
40
41. Digital Art Critique
• Diversity
• Dynamism, co-creation
• Ephemerality, archivability
• Role of critics
• Standards
• Valorization, value-determination
• Collecting
41
44. Cultural unification: art and
technology
• “Two Cultures” lecture by CP Snow (1959) –
lamenting the division between arts and science
– At Cambridge a gap between the “science culture”
and the “arts” or “literary culture” where the "two
groups had almost ceased to communicate at all"
– Nostalgia for earlier times when science and
humanities were more closely aligned
• Digital Art crosses the rift
– Art developed with computers and computing
methods, digitally displayed
– Design, aesthetics, and elegance in technology (Apple)
44
45. Agenda and Upcoming Sessions
2/12 - Introduction "What is digital art?" and what philosophers are saying
about it?
2/19 - The Design Aesthetics of Meaning-Making: Information Visualization.
“Aesthetics of Information Visualization” (Warren Sack, 2013)
“Authenticity and Computer Art” (Margaret A. Boden, 2006, pp 1-11)
Processing.org tutorial or download/test Tableau
Digital art interpretation of Van Gogh’s ‘Pair of Shoes’
2/26 - Democratized Creativity: Performance, Music, Virtual Reality, Gaming.
3/5 - Natural Aesthetics: Generative Art, SynBio, Biomimicry, CrowdArt.
3/12 - Portable ArtTech: Identity, Fashion, Wearable Electronics, the Future.
Comments and Feedback:
m@MelanieSwan.com
45
46. Thank you!
Image: Emese
Szorenyi
Digital Art and Philosophy
Melanie Swan
University of the Commons and the Emerald Tablet Gallery
http://www.MelanieSwan.com/PCA
http://www.slideshare.net/lablogga