Wednesday, March 31, 2010

[Yasmin_discussions] end of Multisensory Projection discussion

Dear Yasminers,

yet another great discussion with the end of
March is coming to end...

Sincere thanks to moderators, responders and
all the contributors.

best to all
nina
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Tuesday, March 30, 2010

[Yasmin_discussions] multisensory perception

The human plume is a boundary layer that flows from us, around us. Our
collaborative art-science project involves exploring the nature and
sensing of the human plume and how we interact with one another and with
nature through the plume. Can we develop a language that enables us to
decipher the meanings transmitted within the plume? How much emotion is
conveyed within the plume? And is the plume an olfactory signalling
system that humans are using, or could use?

We wear a genetic profile around

Like a suit

Like a dress

We can sense some things

But not others

We like some things

Not others

The YASMIN discussions and contributions have helped inspire some new
avenues and approaches to tackling some of our questions concerning the
plume and has also opened up new areas for future exploration. These
include topics on neuroscience, language, individuality, sensory
discrimination and sensitivity, conscious v. subconscious sensing, cross
sensory expression, approximation and gut feelings. We will be
following up on many aspects of these areas within the plume project and
look forward to letting you know of progress. We have enjoyed the
contributions and discussion as we're sure you all have.

Many thanks,

Richard and Raewyn

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[Yasmin_discussions] (Yasmin_discussions) Multisensory Perception :The inter-modal theory

Hi All,

I forward this message from Antonio Brech

best

Raewyn

The inter-modal theory

I agree with who said during the discussion that is interesting
coexistence of the arguments made through research and experimentation,
both in institutional and half in the field of open building.
I want to thank this attitude and commitment to facilitate dialogue and
communication between antagonisms have done so much damage throughout
history to the development of authentic freedom and knowledge.
For me it has become clear that in terms of inter-sensory integration,
speech is "axiomatic" informed today under the banner of clinical
methodology whose address ends in repeatedly over the same, the darkness
at the end of the tunnel the impenetrability of the intrinsic and the
impossibility of truly new transmission, and other emerging more
consistent, by way of a mutation that advocates valdi consistency of
achievement based on a new plant operational instrumentality, resulting
from a development sensitivity in terms of meaning with all its
implications and applications to everyday experience: INTER_MODAL
THEORY,
Thank you very much!


Antonio

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Monday, March 29, 2010

[Yasmin_discussions] The inter-modal theory

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[Yasmin_discussions] The inter-modal theory

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[Yasmin_discussions] moderator this week

Dear Yasminers

I am your moderator this week from Marseille where the
daffodils and tulips and plum blossoms are blossoming !

PLEASE

a) All new members to the list PLEASE send us a brief
email with who you are and your interest in art/science/technology
around the mediterannean. The whole point of YASMIN is to
help people meet around the mediterranean ! that is hard to do
in anonymity.

b) If you send a post in another language than english PLEASE send
a few sentence introduction or summary in english= the problem is that
our moderators dont know all the mediterranean languages and our
protocol is that the moderator cannot approve a post that they cant
understand !! we try hard to keep out spam. I can personally read
french and english not not the other twenty mediterranean languages.

c) If anyone is interested in becoming a YASMIN moderator (volunteer)
we welcome help.

d) If you have a topic you would like to organise a discussion on- please
suggest. This is a bottom up list not top down !!

Roger Malina
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Sunday, March 28, 2010

[Yasmin_discussions] Multisensory Perception

Dear Yasminers,
Dear Nina,

Thanks for inviting me to participate in the intriguing discussion on
Multisensory Perception a very complex and multilayered theme for discussion
as the sensory capabilities of our body. For this reason from the time of
the Renaissance believing that we will find the truth about reality we have
developed technologies to measure, see, hear, and smell beyond our bodies
capabilities. Orbiting satellites and aerial intelligence that have been
continuously transmitting to earth images and all kind of data.

I believe that cultivating an awareness of feeling and sensation is a
powerful evaluation of our environment. While our sense of sight dominates
in the ability to understand our environment experimenting with light,
sound, color, image and smell and making a simulated synesthesia where each
sensory element is a translation of information about the other it may
create a more integrated experience of a subjective physical experience of
color, sounds, smell and images that has the potential to transport through
pleasure, contemplation, memory, esthetic joy and inner imagination a
mutlisensory experience unique to each person according to the association
they make.

And I come to the above conclusions through some investigations in my art
work especially when I combine art and technology which include
experimentation with the above such as light, color, image and sound and
smell in order to investigate fictional translations, per formative
participation of the viewer, misinterpretations, visual imagination and
perception of reality especially in our contemporary visual culture where
the representation of reality and fiction have been totally confused.

A like to believe that multisensory experience "uncontained" opens up new
realms of associations to be explored beneath the visual dominance of our
time.

Best,

Jenny Marketou
www.jennymarketou.com


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Saturday, March 27, 2010

Re: [Yasmin_discussions] Multisensory Perception

Hello Yasminers,

thanks for the intriguing reference Sergio.
It seems that in the nineties a considerable amount
of hypothetical as well as clinical trials were published
some of them decidedly more provocative than the
current discourse on the topic. You might be in a better
position to argue this point than me...

Grateful thanks to Jenny' for bringing up the
socio- cultural aspects of this theme and of course
to Raewyn and Richard for contributing both artistic
and scientific viewpoints. To receive the postings from
contributing scientists was especially appreciated.
These are seldom articulated clearly in discussions, even if
such a dialogue is supposedly focused on the art &science
theme.


In a few days the Multisensory Perception discussion
will end. While I initiated the theme, I mostly stayed
in the background - would like at this point sincerely
thank the Moderators and all the Contributors for
a first rate expert discourse.

Closing remarks by all of the contributors and
moderators will be highly appreciated.

best
nina

>Nina,
>
>Thank you for the references. I'll check them!
>
>I think you may enjoy this one, highly provocative:
>
>http://socrates.berkeley.edu/~noe/NCC.pdf
>
>by Evan Thompson and Alva Noe.
>
>I think we should keep in mind that most of those topics (perception, brain,
>consciousness, etc.) are still very open to debate, so it doesn't really
>matter if you are dealing we articles published a decade ago -- most of them
>still ask for interesting interpretations of the results, and the most
>recent articles and experiments are based on works done sometimes 20 or 30
>years ago.
>
>The development of brain imaging techniques has led much of the research on
>the brain in the direction of poor ideas focused on finding brain areas or
>neural correlates of experiences or functions. Wego to congresses and people
>just wait to see the brain scans -- looks almost algorithimcal! But most
>psychology done before MRI is plenty of amazing insights . Concerning the
>senses, take, for example, the works of Larry Marks: they are amazing,
>insightfull and inspiring. And suddenly you will see Ramachandran and
>Hubbard exploring the same Gestalt (1910?) examples Marks did, like the
>famous "kiki-bouba-effect".
>
>So, it's much more a matter of finding scientific works which are
>insightfull and provocative, which problematize the dominating cannons and
>open the topics to debate, than thinking that the last 4 or five papers
>synthesize the actual thruth. Scientific thruths are contingent and
>transitory.
>
>That's why I focus mainly in the experience people have with their senses
>and how they make meaning of it. This direction has been truly fruitful in
>understanding both the nature of perceptual experience and more advanced
>topics, such as the impact of informational technologies on perception --
>thus on meaning and cognition -- which is the main focus of the work I've
>been doing in the last years.
>
>best vibes from Brazil
>On Tue, Mar 16, 2010 at 10:01 PM, nina czegledy <czegledy@interlog.com>wrote:
>
>>
>> Hello Sergio,
>>
>> thanks for the Konig reference, In my earlier research on
>> mental imagery and visual perception, I came across a long
>> list of intriguing articles including a few below - I share these
> > with those who are interested in visual perception, although
>> these are the result of research at lest a decade ago.
>>
>> best
>> nina
>>
>>
>> Visual and mental exploration of visuo-spatial
>> configurations: behavioral and neuro imaging approaches
>> by Cocude M, Mellet E, Denis M
>>
>>
>>http://www.mendeley.com/research/visual-and-mental-exploration-of-visuospatial-configurations-behavioral-and-neuroimaging-approaches/
>>
>> Are we aware of neural activity in primary visual cortex?
>> Francis Crick & Christof Koch &Dagger
>> http://www.nature.com/nature/journal/v375/n6527/abs/375121a0.html
>>
>> Neural Basis of mental imagery G Goldenberg
>> http://www.ncbi.nlm.nih.gov/pubmed/8137002
> >
>> The role of Are 17 in Visual Imagery: Convergent evidence
>> from PET and rTMS, SM Kosslyn et al
>> http://www.sciencemag.org/cgi/content/abstract/284/5411/167
>>
>>
>>
>> Hello Nina, Jol and all,
>>>
>>> As for sources, I do appreciate the following article, by Andreas Konig
>>> and
>>> Peter Engel really insightful. It came to my mind because Nina mentioned
>>> the
>>> Max Plank Institute, and this article has been written there. It takes in
>>> account some ideas of Maturana and Varela, thus the sistemic approach that
>>> has lead to the autopoiese theory.
>>>
>>> Concerning the problem of perception, much of the discussion seems to
>>> still
>>> run around brain areas X holistic, corporeal approach, when that which
>>> feels
>>> and perceives are not brains, but persons (or living beings).
>>>
>>> liris.cnrs.fr/enaction/docs/documents2006/Engel_Konig.doc
>>>
>>> s.
>>>
>>> On Tue, Mar 9, 2010 at 12:57 AM, nina czegledy <czegledy@interlog.com
>>> >wrote:
>>>
>>>
>>>> Hello Jol, Hello All,
>>>>
>>>> thanks for posting re the fascinating transcendental
> >>> cybernetiics aspect of complex systems including
>>>> multisensory perceptions. Hoping to hear more from you.
>>>>
>>>> On sensory perceptions, I found the experiments conducted at the
>>>> Max Planck Institute for Biological Cybernetics and published under the
>>>> title:
>>>> The Process of Perception: A Sensory Puzzle, absorbing.
>>>>
>>>> Abstract: Our brain combines different sources of sensory information
>>>> in the process of perception. There is the possibility that the
>>>> individual sensory components from which the perception was
>>>> originally composed may, in certain circumstances, become
>>>> lost. Scientists from the Max Planck Institute for Biological
>>>> Cybernetics in Tübingen, from the University of California in
>>>> Berkeley, the University of Pennsylvania in Philadelphia and
>>>> from New York University have discovered that this loss occurs
>>>> when differing visual signals are combined. In contrast, in-
>>>> formation arising from different senses, such as from touch and
>>>> sight, can be separated again into its separate components
>>>> (SCIENCE, November 22, 2002)
>>>>
>>>> best
>>>> nina
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Hello My Name is Jol Thomson,
>>>>>
>>>>> I wanted to introduce myself and my art practice in the field of
>>>>> transcendental cybernetics, investigating the conditions for the
>>>>> possibility
>>>>> of complex systems. Essentially this means the structural examination
>>>>> of
>>>>> the feedback cycle as an imminent and eminent relationship. This is a
>>>>>
>>>> >> research and process oriented practice where the spatial, sonic and
>>> visual
>>>
>>>> representations reflect upon the concentric multiplicities of the
>>>>> seemingly
>>>>> universal element of the feedback loop in nature, time, space,
>>>>> perception
>>>>> and communication.
>>>>>
>>>>> In terms of multi sensory perception and synaesthesia the matching of
>>>>> the
>>>>> spatial and sensual autopoietic systems leads to interesting
>>>>> relationships
>>>>> and interactions creating phenomenological and neurophysiological
>>>>> responses
>>>>> that may be of interest to both scientists and artists alike. I
>>>>> experiment
>>>>> with complex analog environments, revealing all of the elements of the
>>>>> system. In this way there is nothing left out or hidden from a
>>>>>
>>>> >> participator,
>>>
>>>> and yet it remains captivating and mysterious.
> >>>>
>>>>>
>>>>>
>>>>> My practice is experimental, intuitive and playful yet yields results
>>>>> in a
>>>>> specific and concrete way. From a formalist approach, references to
>>>>> abstract expressionism and geometric abstraction are evident,
>>>>> continuing
>>>>> and
>>>>> opening up discussions not yet exhausted. Considering feedback from a
>>>>> structuralist perspective reflection, refraction, and recording are
>>>>> considered as polyvalent and are explored in their multiplicities,
>>>>> opening
>>>>> or continuing transdisciplinary discussions in many of the science,
>>>>> arts
>>>>> and
>>>>> humanities field.
>>>>>
>>>>>
>>>>>
>>>>> Currently a resident at the Banff New Media Institute located in
> >>>> Alberta,
>>>>> Canada, I am investigating the potentials of immersive stereoscopic
>>>>> feedback
>>>>> environments and so far there appears to be some intriguing results.
>>>>> The
>>>>> area of most significance for currently is concentric and parallactic
>>>>> space,
>>>>> where again the term space has many connotations. I feel that
>>>>> presenting
>>>>> space in and on itself transmits or initiates a deeper understanding or
>>>>> awareness of the nesting occurring in all complex systems.
>>>>>
>>>>>
>>>>>
>>>>> I look forward to the lively and intriguing posts.
>>>>>
>>>>>
>>>>> jol thomson
>>>>>
>>>>> --
>>>>>
>>>>> ~www.jolthomson.ca~
>>>>> _______________________________________________
>>>>> Yasmin_discussions mailing list
>>>>> Yasmin_discussions@estia.media.uoa.gr
>>>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>>>
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>>>>>
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>>>>> _______________________________________________
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>>>>
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>>>
>>>
>>> --
>>> -- Prof. Dr. Sérgio Roclaw Basbaum
>>> -- Coord. Tecnologia e Mídias Digitais
>>> -- Pós-Graduação Tec.da Inteligência e Design Digital - TIDD (PUC-SP)
>>> _______________________________________________
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>>
>>
> > _______________________________________________
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>
>
>--
>-- Prof. Dr. Sérgio Roclaw Basbaum
>-- Coord. Tecnologia e Mídias Digitais
>-- Pós-Graduação Tec.da Inteligência e Design Digital - TIDD (PUC-SP)
>_______________________________________________
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Wednesday, March 24, 2010

Re: [Yasmin_discussions] Multisensory Perception

Hi Yasminers,

Thankyou Antonio for your contribution and links, adding to many
threads in the discussion---Richard and I have had a few ideas as
follows...

'Feeling' has been discussed by many. Once we start talking about
feeling in the context of sensing, we wondered whether we can draw a
line neatly between them. Certainly we can't within an individual
where these are inextricably connected, feeding back on each other.
For instance we know very well that environment can impact enjoyment
of a multisensory experience. A meal from a three star Michelin chef
won't taste great when the people sitting next to you in the
restaurant are arguing (Hervé This, [2010] Nature 464: 355). At the
nuts and bolts level too there is evidence for the influence of the
whole on the sensing machinery at the periphery. Based on context and
previous sensory input the brain can trigger the release of hormones
that influence the process of odour perception right near the
periphery, the sensory neurons where their axons first converge in the
sensory bulb. This process has been observed in insect and mammalian
systems where a range of different hormones can be released in the
antennal lobe (insect) or olfactory bulb (mammal) to modulate sensory
signals. This modulation by hormones on sensory input is typically
associated with learning behaviour where experience guides future
sensory events.

In a test of whether feeling and sensing can be teased apart, Raewyn
turned to some of our experimental systems where we use cells to
investigate the nature of olfactory receptors. We work with both
insect and human cell lines that can be engineered to express
olfactory receptors. With these we can investigate what odours a
particular receptor can smell and how the receptors work. The
question that Raewyn asked is whether these cells, now empower with
the gift of smell, have feelings through there new found ability to
sense. While they don't have a mind, the cells are able to respond to
stimuli to physically expression a reaction or state. And certainly
single-celled organisms such as amoeba respond to stimuli with
different behaviours and across a number of amoeba they will respond
in multitude of ways, perhaps an indication of individual states or
possibly feelings. But what if the olfactory receptors are now taken
into a device or cybernose, outside the context of any format we would
be comfortable to describe as living like a cell. While our device
might be able to smell it seems beyond what could be considered able
to feel. And if our device can't feel … will it then be able to smell?

Another area that we have been discussing within the topic of
multisensory perception is just whether we understand what makes up
the 'multi'. Certainly while we may seem fairly sure we understand
our basic senses, new senses are being discovered all the time. Some
of the contributors have alluded to these, sensing gravity, magnetism
and sensing internally. In the area of taste perception the
mechanisms involved in the perception of acids, calcium and fats have
only been uncovered in the last few years and the ability to perceive
such attributes as astringency and texture are still to be uncovered,
never mind senses we haven't even imagined we might possess. This is
perhaps fruitful ground in which scientists and artists can collaborate.

Others have talked about sensing internally or interoception,
certainly an area where science is only just beginning to understand
how we sense inside ourselves. A statue in the heart or a boat in the
liver. From a science perspective recent work on chemosensory
perception has uncovered a number of receptors that are expressed in
our gut or gastrointestinal tract. While we do not consciously
perceive tastes in our guts through these, they are thought to be
involved in perceiving compounds that trigger satiety, telling our
brain when we are full and to please stop eating. It is all in the
wiring, rather than being wired to a chemosensory integration centre
in the brain, the orbitofrontal cortex, then onto the hedonic centres
such as the amygdala, the taste receptors in the gut are wired through
the vagus nerve into a centre in the brain involved in controlling
feeding, the hypothalmus. And while we are talking of guts and brains
we should mention the enteric brain or second brain. The
gastrointestinal tract is surrounded by a dense network of neurons
collectively known as the enteric brain. Perhaps this is where the
expression 'gut feeling' comes from? the knowledge that arises into
consciousness and is felt sometimes as a pang, a churn, movements like
butterflies wings beating, a sound, a chord, a colour...

Raewyn, Richard
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Monday, March 22, 2010

Re: [Yasmin_discussions] Multisensory Perception

Forwarded from Antonio Brech
<antoniofeliz@edu.xunta.es>


Hi,jassminners:
PARAGRAPHY

Intermodal nature of the activity:

Experience is a tour venturing experimental by an
empty space or how to code unknown.

The aural elements conducive to concentration and
provide a eradicates accompanying irrationality
and imposes its rule of evidence point towards a
resolution of the simultaneous automation

interestimulación with heterogeneous forms of presentation and support

Miscellaneous (sound and graphics).

It is not easy to get to stand or position on
automatism graph and its resulting spontaneous.

Nor structured arguments to prepare the detailed
explanation of a repertoire of activities in
which many magnitudes converge different and
distinct from the usual stereotyped.

We must avoid the sense of repetition and failure
and variational it is a discrete system with
determination of the phases or course functions
intermodal process must produce the impression
like a continuum inexhaustible and surprising.

You can not do depend on the wealth of records
from the sound experience and the level of
knowledge assimilated in education visual.

The "trasladación" schemes like the smell, or
taste and assumption of an inability to function
at a level of complexity and demand continuous
dosing and higher grade than usual, may interfere
with normal development of positive action, as
that the associative emotional component.

On the contrary sometimes appears as a kind of
melody, rhythm or mental hum familiarity with
facilitating the development of the intermodal
action in the order.

The forecasts must be built on that as the plane
graph, its alternative uses and purposes as
systematic and comprehensive character, the
central question, must precede the start of
meetings, a brief

introductory preparation which has included the
prevention of other purposes and increase the
ratio of the repertoire of effects and features
and diversification of land as the tool of
perception as rebulsivo creative and involving
and energizing sound stimulation engendering a
climate of some surprise, approach to what
unknown, novelty and trend of all, facilitating
the representation and in a relaxed atmosphere.

The role of the aural initially is to leave blank
mind, obliterating conventional impressions and
derivatives

elaboration and experiential work to reflect the
views submitted to automatic influence under the
rule than the effects of sound and the influence
of how they relate and interrelate backbone each
sound and graphic stimuli.

In addition to the decanting, transfer to succeed
the initial gaps and to turn himself in
vascularization after tampering with the
diligence and discipline improving productivity,
by way of twists and turns will come to a
FUSION or order from chaos, which makes the
majesty of recognizable unknown and requires a
connection, handle or reference in terms how
thick it covers and includes the most important
for speech personal and collective consequences
of participation in interestimulación complex.

Stresses the submission to a kind of hypnotism,
or feeling inexhaustibility supported by the
promotion of inspiration that turns on how to
translate the influence of sounds.

While situational characteristics (dim light, big
screen .. etc) and knowledge of partner
involvement makes sound varies, this does not
invalidate the whole character or full disclosure
and contact heterogeneity which calls for better
productivity in the work graph-sound.

There is an imaginary level above which there is
a harmony, which makes it sounds mean something
entertaining and fun and below which produces the
feeling of not achieving the minimum requirement
of
absolute essential quality of the human condition
itself and species which produces an unbearable
psychic distress and more harmful insufferable
deprivation that still generate and be symptom
overall production of impotence.

Instead you can get to run very nice pictures or
drawings or interesting despite being poorly
made, leaving an order side the difficulties of
graphic expression that can make complicated the
conduct and promise to change access to the
opportunities motivational and interesting
display of values and magnitudes novel in the
sense that they break the custom and habits.

Small is a list of alternatives or actions under
the guise of pleasant or intriguing.
Emerges as a force that encourages letting go and
an upstream version the current frame of mind
connected to the desire to know more or drifting
with the illusion of cheery, avoidance of
ambiguity, emergence powers exercised primacy of
experience under the trend of priorities reflect
the tastes of some point in their life, which
reaches enjoyable and fun nature, the power
intercommunicate and ilacción express what you
feel and others feel and think and a certain
affinity and vagueness about the origin of
authorship that gives universal entity ..

A line with a vein of inrepetitión, or errors and
inreproductión as an approximation to the
objective meaning most likely to success, under a
performative references that eliminate the risk
of danger characteristic of excessive or
psicobiologización approach a reality superior
and complex.

Besides launching the alert, working from the
perspective multiple simultaneous views and a
load of active force and positive energy and a
positive attitude to the outbreak and productive
exercise of power under both affectively positive
and uncertainty which led to a regime
overactivity.

A reality of a level subject to consistency in
its variety and continuity supposed initially an
obstacle to the necessary identification trigger
smoothly and spontaneous improvisation graphic
activity guaranteed quality.

But is the sense of common or general level of
demand and how it affects stimulation that is
proposed to the majority and the poise of
metariales (real meta-materials) resulting
marking the limit in terms of credibility and
allows distinguish between what it is or not
achieving intermodal operation, it which
represents a qualitative leap.
Antonio Brech
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Re: [Yasmin_discussions] Multisensory Perception

Forwarded from Antonio Brech
<antoniofeliz@edu.xunta.es>

METAVISION:


Ex: Feeling the softness across the dance music ....

Meta criterion refers to a methodology that
consists in addressing the transition (joining /
leaving) to a goal state that allows the
efficient development of the enlargement process
of consciousness.
Just as the understanding and management of the
updating of psycho-motor functioning
autointeractivo level, connecting himself with
the reality momentual and ecological environment,
using mediational element movement, for which
international support is the sound mediational
... ....

The part related to the influence of the presence
of sound is important ... .... As active
self-consciousness while still in a partial
manner as if the translation of sound effects is
exhaustive (Afectación. What sound depends on the
experience of subject and its memory and history
sound) is enriched, the process of maximizing
output interpretation. (Afectat).
It is at this point that the operation "mental"
is becoming VISUAL necessarily for reasons of
economy and adequacy to levels of demand in terms
of the efficiency which represent a qualitative
leap.
The subject is able to visually manage paths or
routes that made in the understanding of their
internal schemes operating at intrinsic
(internal-motion way of mental representation of
movements or chains of actions but thought from
within, raised by sound is always the reference
sound is combined with that thought and run, (His
Majesty the sound).
There are paths to interpret the meaning or sense
of melody, not to seize the map corresponding to
the chain of integrated motor movements or
schedules.
If there is an transistencia (Ver) and enter the
extrication capabilities (see), unraveling by
viewing safe and in optimal conditions all that
appears on the screen (VER) can generate new
proaction (ENVI) and increased (see) the
portfolio of operational resources to the
requirements of the exercise autointeractivo.
The subject (Type (VERY IMPORTANT-AUTOPROTOCOLO
(Report written autoejercicio indent. With
reference always hold and, as I like to dance or
be stimulated by such dance music (t feel
concerned particularly favorable, even that is
the subject who choose the music)) is written and
said to himself as it should and autoresolver
autoanalyzer.
Ex: open circle more tightly focused
near-Redondo) is initially used language that
follows the logic of self-observations gap
analysis, thinking about what you observed and
what to do to get strategically and tactically
including criticism and also the solution to
autopropuesta will be tested in subsequent runs
to achieve change replacement and disposal habits
of multiple access and consequently also to
improve the quality of your exercise until you
reach the optimization in the understanding and
management their own resources, and in turn the
new solutions lead to more efficiency in the
processes of transition and renewal as it is a
qualitative operability and prone to integration
.... , caused by the need to decode the
functional relations established between the
notes or audio material
(Example: Recognition of melodies or rhythmic
patterns) which in turn suggest new possibilities
for further displacement or integrated motor
schemes but expressive character that already
contain a meaning and significance in the overall
context of consciousness, revealing not only
internal operations but the transduction or
conversion of an understanding of the broader
reality (History, time and everyday environment)
generating a language that refers to its own
motives and impulses.
In general a transformation is occurring at the
instrumental, no longer works with the language
if that internal operations, psychic, have a
support graph. DISPLAY
Initially begin as images by association, until a
schematization increasingly more abstract but no
purer nearest to what happens in reality in terms
intrinsic to what things are through successive
approximations reaching ever greater
effectiveness in understanding and managing for
change or improvement of motor action schemes
which also includes increased capacity for
generation with higher quality and precision, and
the manufacture of new ones ....
>From here comes the sound or see through it,
another thing is what you see and what each is
likely to be, must be seen or be seen ... ... and
finally what it is, you should change the
scenario or the repertoire enough to produce the
turning of a standard repertoire, conventional
broad outlines of effective action, and the
emergence of a skills and resources to the
development and resolution capable of generating
non-stereotypical assumptions. That other thing
... is the goal a reality. Their display: META
VISION.

Come to an evolution of the intersensibilidad
through sound or through autoaticamente
translates reading goal ... ... .. this type of
goal writing ....
First Sonograms ... .. up to the Metagrafias


Antonio Brech
For scientists and artists
---------------------------------------------------------------------------------------------------------------------------------------------
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Re: [Yasmin_discussions] Fwd: (Yasmin_discussions) Multisensory Perception

Hi Yasminers

Back now from making a work which was a wine tasting of the internet...

Roger, I was thinking too of the analogy of the camel drunk with the
internet, and which has saturated itself and thus is watered enough to
cross the desert to the next terminal stop...with a load of
'information' stored in the humps on its back.

Roger wrote : "I would be interested in examples of artworks that
focus on
the interoceptive senses !! rather than the exteroceptive ones"
Going sideways to interoceptive senses Bishop Berkely ( Ree). writing
the illusion of 'Outness' regarded all senses as contact senses
due to anything a person could see was located only 'in his eye , or
rather I his mind', and therefore must be 'as near to him as the
perceptions of pain or pleasure….'
Not really interoceptive, but skin : Joan Healy: Cyberskin http://www.multiplexart.nl/video/joan-healy-cyberskin
. And how the interoceptive senses can be regulated or controlled ---
Fuyuki YAMAKAWA throat singer, performance artist who controls his
heartbeat`s speed and velocity through his vocalisation.
Jenny wrote ".........a range of domains in which the function or
value of "miltisensory
perception" is important when it come out of the laboratory isolation
of the
scientist. And what happens when the dynamics of art and technology come
together and how this matters; in terns of design process which goes
beyond
functionality and innovation or pleasure ,and creates esthetics, viewers
participation , meaning and a platform of knowledge?"

Art/science /technology projects were presented at at SuperHuman http://superhuman.anat.org.au/
for example Leah Heiss's "Emotional Technologies where she had
focused on the emotional aspects of therapeutic technologies. http://www.elasticfield.com


Our collaboration started in October 2009 and the three works that
we've made have been very social and participatory for the audience.
At the wine tasting (Tasting the Digital , Internettraces:
Experimental Integrated Data Work) everyone was talking to everyone
about their experiences with the smell and taste of the wine, and I
heard people reflecting on the meaning of fragrances, so between the
readings I just kept the microphone on so their voices were carried
over the p.a. system.

'Internttraces' is a collaboration with Mary Griffiths who wrote on
the voices of the people who had created content/participated on
various internet sites. Mary and I had performed this collaboration
back in 2004 when I didn't have any knowledge of or access to an
effective way of fragrancing and flavouring wines. Thanks to Richard
and Benedicte the sensory and consumer science lab training in smell
has focused my attention towards reflection on aspects of olfactory
chords, the imprint that such notes may leave, and the practical
knowledge which has been immensely useful to present olfactory objects
( if smell could be called an object) that may be more effective for
the audience/participants for association with not only a background
of dialogue with others, image, sound but with the background of their
own histories.

Thanks Jenny for talking about the history which has led us to this
point - thinking about multisensory perception…
Jenny Maketou wrote: A good
example is with the immense changes of modernity in urbanization and
worked
(factories) it also entailed profound changes in the sensory landscape
and
the use of senses by the use sanitization campaigns adopting olfactory
intolerance and the rationalized imperatives of industry which reduced
the
body of the worker to the most utilataritarian of gestures. Rescuing the
body and the senses from instrumentalization became a significant
thematic
among the generation of artists of the 60¹s.

Will we rescue the body from the visual mesmerisation of the computer?
Jenny your question of collaborations without any funding. I've
worked with a commercial perfumer, Louise Crouch who has a
synaesthetic colour smell association. Over the past 6 years and
without any funding, Louise has allowed me access to her domain of
commercial perfumery . Together we've created a perfume for
gamblers.Are there others on this list who are working in
collaborations without academic backing/funding?

Sergio, thanks for sending Are There Neural Correlates of
Consciousness? (Alva Noë and Evan Thompson http://socrates.berkeley.edu/~noe/NCC.pdf
)
"Although the stimulus is constant, the percept changes dramatically
every few seconds. The question is: which of the neural activities
subserving visual percep-
tion correlates with the stimulus, and which with the percept?"…
I would like to talk about cosciousness as it relates to this paper
and life drawing : I've spent many years observing and drawing
everything and anything to understand seeing and perception, and a way
to gain empirical knowledge. In trying to simply represent what I
observe on my vision, I became aware that the reality that I saw was
changing while I studied it, because it appeared to be different to
how I had seen it 5 or 10 minutes ago; it was that I was watching my
consciousness pass through levels which would make what I saw change
its appearance. I was watching my consciousness slide through states
of perception.

All the best

Raewyn

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Sunday, March 21, 2010

Re: [Yasmin_discussions] cross modal

Roger wrote:

"well i was drinking red wine when i read your scotch influenced discussion
with richard:

"There are a couple of things that Richard and I talked about over a scotch
the other night

"1. This dicusssion doesn't have a linear trajectory - in science we tend to
work somewhat directionally - circularity might be initially interesting but
in the end only raises issues and doesnt take us onwards - do you folk think
'onwards'?."

While drinking a stiff cup of coffee, it comes to mind that a circularity is
not necessarily a closed system in that it can form a spiral model of an
forward, onward, upward movement.

Natasha

Natasha Vita-More

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[Yasmin_discussions] Multisensory perception at an artists studio

Dear Yasminers,

I am not sure where the discussion is heading and whether we have looked at
a range of domains in which the function or value of "miltisensory
perception" is important when it come out of the laboratory isolation of the
scientist. And what happens when the dynamics of art and technology come
together and how this matters; in terns of design process which goes beyond
functionality and innovation or pleasure ,and creates esthetics, viewers
participation , meaning and a platform of knowledge?

I believe Roger Molina addressed this in one of his postings.

Are those kind of a collaborations possible in the non academic, non
institutional isolated context,like the studio of an artists with limited
funding?

Many thanks,
Jenny Marketou


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Re: [Yasmin_discussions] (Yasmin_discussions) Multisensory Perception

Re: multimodal perception from Antonio Brech-
-(forwarded by Raewyn)

> TEXT I
> ---------------------------------------------------------------------------------------------------------------------------
> Hi,Jassminners......
>
> View.
>
> <a href="http://visualmusic.ning.com/profiles/blogs/meta-vision">http://visualmusic.ning.com/profiles/blogs/meta-vision
> </a>
>
> <a href="http://visualmusic.ning.com/profiles/blog/list?user=0gayi643lf6uk
> ">http://visualmusic.ning.com/profiles/blog/list?user=0gayi643lf6uk</
> a>
>
> Thanks......
>
> Antonio Brech
> ---------------------------------------------------------------------------------------------------------------
>
>
> --------------------------------------------------------------------------------------------------------------------------
> TEXT 2
> The vision through sound ----
>
>
>
> Dear jasminners:
>
> Multisensory perception:
> The name refers to multimodal experience combinations in the use of
> different sensory modalities. It is a conception in my view very
> limited, but interesting introduction to the inter-modal theory
> The inter-sensory, is accessibility to the integration of the senses
> as a form of behavior is more comprehensive and has more depth,
> However I believe that you should not use these terms when the
> speech is pierced by the technology .....
> So the current historical moment would be more related to
> postecnocultura.
> Neither the culture in the conventional sense or the technology, is
> not references appropriate handles for understanding and managing
> of the than is reality in itself or ....the of than is the .human.
> To be more clear not reading, writing, calculo (logical-mathematical)
> but yes, sound, graphics and
> motion ........................................................
>
> (ALOGIC-Instrumentality
> operational
> ),.................................................................working
> as a bicycle .....
>
>
> Antonio Brech
>
> <a href="http://www.inter-modal.org">www.inter-modal.org</a>
> -------------------------------------------------------------------------------------------------------------------------
>
>
> -----------------------------------------------------------------------------------
>
> TEXT 3
>
> Inter-modal theory
>
> Everyone seems to feel very comfortable saying the benefits of
> scientific methodology or the membership of the "axioms" from art
> history and commitment "creative".
>
> When one examines the true state of the cross, we appeal to the
> target philosophy as a discipline that could utopian integration
> backbone of the knowledge provided by the various disciplines of
> knowledge ... ..
> Moreover it seems that the technology has so far provided no
> criteria satisfactory solutions to issues are far-reaching as the
> need to overcome the ontological presuppositions, epistemological,
> or methodological when it comes to supporting the new knowledge.
> It is conceivable that we are very far from plain evidence and some
> ad hoc criteria, as well as the urgency of developing a theory about
> the inter-modal, does not have favorable conditions to develop an
> arduous task that requires of attitudes and a very demanding work
> for dialogue and interdisciplinary collaboration.
> The remaining question is clearly contextualized and this is
> undoubtedly facilitate the transfer process advances to facilitate
> access to a better understanding and management of new forms of
> activity and expertise, since the updating of human discourse is in
> good dependent measure of input-oriented in that direction.
>
> In any case if that goal is revealed as binding, provided the
> respect and consideration to get carry out a compilation and
> subsequent reflection, consistent answers about finding a
> justification for the legality of the goal mainstreaming.
>
> Antonio Brech
>

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Saturday, March 20, 2010

[Yasmin_discussions] Reenviar: Multisensory Perception-For Raewyn Turner

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[Yasmin_discussions] Reenviar: Multisensory Perception

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[Yasmin_discussions] Reenviar: METAVISION-For Raewyn Turner

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[Yasmin_discussions] Reenviar: The vision through sound -----For Raewyn Turner

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[Yasmin_discussions] Reenviar: METAVISION-Antonio Brech-For Raewyn Turner

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[Yasmin_discussions] Reenviar: Teoria inter-modal-Inter-modal theory - For Raewyn Turner

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Friday, March 19, 2010

Re: [Yasmin_discussions] Multisensory Perception

Hello Yasminers,

Picking up of the thoughts that Richard Newscomb has expressed about
multisensory experience and the fact that we perceive as individuals and not
just as brain; It seems to me that most of the discussion has focused on the
brain and we dismiss that as individuals within given cultures and by the
way we have been socially inculcated we make use of our senses for certain
purposes and in specific ways. And what I am suggested is that all the
different information that we receive via all our five senses are all
potential of knowledge.

This knowledge or sensory episteme has been referred as the sensory
framework which has been provided to use as set of habits, ways of behaving,
looking, smelling, hearing within a socio cultural context to make a sense
of our world as humans and to interface with our environment. A good
example is with the immense changes of modernity in urbanization and worked
(factories) it also entailed profound changes in the sensory landscape and
the use of senses by the use sanitization campaigns adopting olfactory
intolerance and the rationalized imperatives of industry which reduced the
body of the worker to the most utilataritarian of gestures. Rescuing the
body and the senses from instrumentalization became a significant thematic
among the generation of artists of the 60¹s.

Lydia Clark¹s (1967) Sensorial Masks were performative pieces of clothing
that sought to reinvigorate and counter act the anomic blandness of modern
life. Filled with herbs, spices and other fragrant substances they served as
means to rediscover the vivid world of sensation and exchanges that binds
together all senses. These sensory hoods engaged the body directly
attempting to recalibrate the sensory orders thus recovering fullness of
experience. Such a task was not merely an exercise of hedonism for it also
was informed by questioning the social habits and political decisions that
crated the monotony of modern life. As for the avant garde artists earlier
in the century rediscovering the energy of the senses and unblocking their
enjoyment promoted an activist, liberating and critical potential that
parallel the rethinking of numerous assumptions of everyday life and the
way we make art.

One of the goals in my artworks is to create sites of knowledge production.
And to my opinion the sensing scientific training which manifests itself on
approximation constitutes knowledge only by approximation a ³short hand² to
the real. To get to the point I like finish with Cocteau¹s caution that to
be able to think ,to see, to hear, to smell, to touch one must first feel.

Jenny Marketou
www.jennymarketou.com

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Wednesday, March 17, 2010

Re: [Yasmin_discussions] M.S.P. and Concentricity

Nina,

Thank you for the references. I'll check them!

I think you may enjoy this one, highly provocative:

http://socrates.berkeley.edu/~noe/NCC.pdf

by Evan Thompson and Alva Noe.

I think we should keep in mind that most of those topics (perception, brain,
consciousness, etc.) are still very open to debate, so it doesn't really
matter if you are dealing we articles published a decade ago -- most of them
still ask for interesting interpretations of the results, and the most
recent articles and experiments are based on works done sometimes 20 or 30
years ago.

The development of brain imaging techniques has led much of the research on
the brain in the direction of poor ideas focused on finding brain areas or
neural correlates of experiences or functions. Wego to congresses and people
just wait to see the brain scans -- looks almost algorithimcal! But most
psychology done before MRI is plenty of amazing insights . Concerning the
senses, take, for example, the works of Larry Marks: they are amazing,
insightfull and inspiring. And suddenly you will see Ramachandran and
Hubbard exploring the same Gestalt (1910?) examples Marks did, like the
famous "kiki-bouba-effect".

So, it's much more a matter of finding scientific works which are
insightfull and provocative, which problematize the dominating cannons and
open the topics to debate, than thinking that the last 4 or five papers
synthesize the actual thruth. Scientific thruths are contingent and
transitory.

That's why I focus mainly in the experience people have with their senses
and how they make meaning of it. This direction has been truly fruitful in
understanding both the nature of perceptual experience and more advanced
topics, such as the impact of informational technologies on perception --
thus on meaning and cognition -- which is the main focus of the work I've
been doing in the last years.

best vibes from Brazil
On Tue, Mar 16, 2010 at 10:01 PM, nina czegledy <czegledy@interlog.com>wrote:

>
> Hello Sergio,
>
> thanks for the Konig reference, In my earlier research on
> mental imagery and visual perception, I came across a long
> list of intriguing articles including a few below - I share these
> with those who are interested in visual perception, although
> these are the result of research at lest a decade ago.
>
> best
> nina
>
>
> Visual and mental exploration of visuo-spatial
> configurations: behavioral and neuro imaging approaches
> by Cocude M, Mellet E, Denis M
>
> http://www.mendeley.com/research/visual-and-mental-exploration-of-visuospatial-configurations-behavioral-and-neuroimaging-approaches/
>
> Are we aware of neural activity in primary visual cortex?
> Francis Crick & Christof Koch &Dagger
> http://www.nature.com/nature/journal/v375/n6527/abs/375121a0.html
>
> Neural Basis of mental imagery G Goldenberg
> http://www.ncbi.nlm.nih.gov/pubmed/8137002
>
> The role of Are 17 in Visual Imagery: Convergent evidence
> from PET and rTMS, SM Kosslyn et al
> http://www.sciencemag.org/cgi/content/abstract/284/5411/167
>
>
>
> Hello Nina, Jol and all,
>>
>> As for sources, I do appreciate the following article, by Andreas Konig
>> and
>> Peter Engel really insightful. It came to my mind because Nina mentioned
>> the
>> Max Plank Institute, and this article has been written there. It takes in
>> account some ideas of Maturana and Varela, thus the sistemic approach that
>> has lead to the autopoiese theory.
>>
>> Concerning the problem of perception, much of the discussion seems to
>> still
>> run around brain areas X holistic, corporeal approach, when that which
>> feels
>> and perceives are not brains, but persons (or living beings).
>>
>> liris.cnrs.fr/enaction/docs/documents2006/Engel_Konig.doc
>>
>> s.
>>
>> On Tue, Mar 9, 2010 at 12:57 AM, nina czegledy <czegledy@interlog.com
>> >wrote:
>>
>>
>>> Hello Jol, Hello All,
>>>
>>> thanks for posting re the fascinating transcendental
>>> cybernetiics aspect of complex systems including
>>> multisensory perceptions. Hoping to hear more from you.
>>>
>>> On sensory perceptions, I found the experiments conducted at the
>>> Max Planck Institute for Biological Cybernetics and published under the
>>> title:
>>> The Process of Perception: A Sensory Puzzle, absorbing.
>>>
>>> Abstract: Our brain combines different sources of sensory information
>>> in the process of perception. There is the possibility that the
>>> individual sensory components from which the perception was
>>> originally composed may, in certain circumstances, become
>>> lost. Scientists from the Max Planck Institute for Biological
>>> Cybernetics in Tübingen, from the University of California in
>>> Berkeley, the University of Pennsylvania in Philadelphia and
>>> from New York University have discovered that this loss occurs
>>> when differing visual signals are combined. In contrast, in-
>>> formation arising from different senses, such as from touch and
>>> sight, can be separated again into its separate components
>>> (SCIENCE, November 22, 2002)
>>>
>>> best
>>> nina
>>>
>>>
>>>
>>>
>>>
>>> Hello My Name is Jol Thomson,
>>>>
>>>> I wanted to introduce myself and my art practice in the field of
>>>> transcendental cybernetics, investigating the conditions for the
>>>> possibility
>>>> of complex systems. Essentially this means the structural examination
>>>> of
>>>> the feedback cycle as an imminent and eminent relationship. This is a
>>>>
>>> >> research and process oriented practice where the spatial, sonic and
>> visual
>>
>>> representations reflect upon the concentric multiplicities of the
>>>> seemingly
>>>> universal element of the feedback loop in nature, time, space,
>>>> perception
>>>> and communication.
>>>>
>>>> In terms of multi sensory perception and synaesthesia the matching of
>>>> the
>>>> spatial and sensual autopoietic systems leads to interesting
>>>> relationships
>>>> and interactions creating phenomenological and neurophysiological
>>>> responses
>>>> that may be of interest to both scientists and artists alike. I
>>>> experiment
>>>> with complex analog environments, revealing all of the elements of the
>>>> system. In this way there is nothing left out or hidden from a
>>>>
>>> >> participator,
>>
>>> and yet it remains captivating and mysterious.
>>>>
>>>>
>>>>
>>>> My practice is experimental, intuitive and playful yet yields results
>>>> in a
>>>> specific and concrete way. From a formalist approach, references to
>>>> abstract expressionism and geometric abstraction are evident,
>>>> continuing
>>>> and
>>>> opening up discussions not yet exhausted. Considering feedback from a
>>>> structuralist perspective reflection, refraction, and recording are
>>>> considered as polyvalent and are explored in their multiplicities,
>>>> opening
>>>> or continuing transdisciplinary discussions in many of the science,
>>>> arts
>>>> and
>>>> humanities field.
>>>>
>>>>
>>>>
>>>> Currently a resident at the Banff New Media Institute located in
>>>> Alberta,
>>>> Canada, I am investigating the potentials of immersive stereoscopic
>>>> feedback
>>>> environments and so far there appears to be some intriguing results.
>>>> The
>>>> area of most significance for currently is concentric and parallactic
>>>> space,
>>>> where again the term space has many connotations. I feel that
>>>> presenting
>>>> space in and on itself transmits or initiates a deeper understanding or
>>>> awareness of the nesting occurring in all complex systems.
>>>>
>>>>
>>>>
>>>> I look forward to the lively and intriguing posts.
>>>>
>>>>
>>>> jol thomson
>>>>
>>>> --
>>>>
>>>> ~www.jolthomson.ca~
>>>> _______________________________________________
>>>> Yasmin_discussions mailing list
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>>>>
>>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>>
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>>>> _______________________________________________
>>> Yasmin_discussions mailing list
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>>
>>
>> --
>> -- Prof. Dr. Sérgio Roclaw Basbaum
>> -- Coord. Tecnologia e Mídias Digitais
>> -- Pós-Graduação Tec.da Inteligência e Design Digital - TIDD (PUC-SP)
>> _______________________________________________
>> Yasmin_discussions mailing list
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>
>
> _______________________________________________
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--
-- Prof. Dr. Sérgio Roclaw Basbaum
-- Coord. Tecnologia e Mídias Digitais
-- Pós-Graduação Tec.da Inteligência e Design Digital - TIDD (PUC-SP)
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[Yasmin_discussions] Teoria inter-modal-Inter-modal theory

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Re: [Yasmin_discussions] cross modal

To all who have received this e-mail: you need to know that I, the
person named below, have neither written nor sent it. My name has
been used without my knowledge or permission. The message posted
below would appear to be a hoax.
On Mar 16, 2010, at 5:16 PM, Alicemary M. Sprickman wrote:

>
> On Mar 16, 2010, at 1:26 PM, Travis Kirton wrote:
>
>> Roger
>>
>> I followed up from your post, to Artsinteractive / Thill, and
>> suggested the inclusion of Christa Sommerer & Laurent Mignonneau
>> to the list of artists with patents.
>>
>> Together they have created many works that are rooted in biology
>> and artificial life.
>>
>>> From their website:
>> In 1992 Sommerer and Mignonneau met at the Institute for New Media
>> at the Staedelschule in Frankfurt where they teamed up and started
>> their collaboration in the area of interactive computer
>> installations. Mignonneau and Sommerer's artworks have been called
>> "epoch making" (Toshiharu Itoh, NTT-ICC museum) for developing
>> natural and intuitive interfaces and for often applying scientific
>> principles such as artificial life, complexity and generative
>> systems to their innovative interface designs.
>>
>> Patent information I found:
>> http://v3.espacenet.com/publicationDetails/biblio?
>> DB=EPODOC&adjacent=true&locale=en_EP&FT=D&date=20091119&CC=WO&NR=2009
>> 137856A1&KC=A1
>> http://v3.espacenet.com/publicationDetails/biblio?
>> DB=EPODOC&adjacent=true&locale=en_EP&FT=D&date=20071115&CC=JP&NR=2007
>> 299434A&KC=A
>> http://v3.espacenet.com/publicationDetails/biblio?
>> DB=EPODOC&adjacent=true&locale=en_EP&FT=D&date=20041118&CC=JP&NR=2004
>> 326188A&KC=A
>>
>> Thanks again for the artsactive link, hadn't run into it before.
>>
>> Travis
>>
>> On 2010-03-13, at 4:44 AM, roger malina wrote:
>>
>>> Ian
>>>
>>> well i was drinking red wine when i read your scotch influenced
>>> discussion
>>> with richard:
>>>
>>> There are a couple of things that Richard and I talked about over
>>> a scotch
>>> the other night
>>>
>>> 1. This dicusssion doesn't have a linear trajectory - in science
>>> we tend to
>>> work somewhat directionally - circularity might be initially
>>> interesting but
>>> in the end only raises issues and doesnt take us onwards - do you
>>> folk think
>>> 'onwards'?.
>>>
>>> 2. We see science contributing to the artistic world. Is the
>>> opposite
>>> happening?
>>>
>>> Ian
>>>
>>> a) on the non linear trajectory of yasmin discussions= indeed the
>>> open list
>>> discussion mode favors discursive
>>> modes rather than tightly reasoned argument= its more like a
>>> stone soup
>>> model, where each person
>>> contributes a stone and you end up with vegetable soup ( or rather
>>> ratatouille or bouillabaisse in this
>>> part of the world)
>>>
>>> b) re the question of science contributing to the art world
>>> versus art
>>> contributing to the science
>>> world= well thats the gauntlet !! as roy ascott famously said -
>>> in todays
>>> society it is science
>>> that is in trouble ( most people on the planet dont believe that
>>> science is
>>> reliable= check the
>>> stats on the theory of evolution and the minority of the planet that
>>> believes its a good
>>> reliable explanation !! roy encapsulated this with " ask not what
>>> science
>>> can do for art,
>>> ask what art can do for science"0
>>>
>>> perhaps using the cross-modal sensory discussion metaphor we
>>> should point
>>> out that
>>> art and science are both intrinsic parts of human culture and its
>>> not
>>> possible logically
>>> or philosophically to separate them.
>>>
>>> why are we interested in cognition and neurobiology as a
>>> science ? almost
>>> none of the
>>> universe has the kind of neuronal structures that humans have=
>>> ( most life
>>> is organised
>>> in different ways and most of the universe is non living) - so if
>>> we were
>>> running the universe
>>> had to decide which science to invest in, cognition and
>>> neurobiology would
>>> be one of the
>>> last= as these systems have almost no impact on the dominant
>>> processes in
>>> the universe=
>>> we are interested in them because human beings have these
>>> systems= we create
>>> art
>>> for human beings and we use science to understand the physical
>>> processes we
>>> us.
>>>
>>> more seriously (yes its half a bottle of wine now) art and
>>> science are
>>> carried out
>>> with different goals, methodologies and institutional structures=
>>> so the
>>> question
>>> you ask is at least socially meaningful.
>>>
>>> indeed science and technology have had a huge impact on the arts
>>> ( most
>>> importantly through the way that physics and quantum mechanics
>>> led to semi
>>> conductors led to the digal computer etc) and the are now
>>> numerous new art
>>> forms
>>> enabled by the digital revolution)( and the new bio arts are
>>> building on
>>> genetic
>>> science etc)
>>>
>>> the opposite is also happening with the work of artists
>>> influencing science
>>> and technology ( in methods, goals, approaches), robert thrill
>>> has a growing
>>> list of examples of patents filed by artists:
>>> http://www.artsactive.net/en/resources/patents/
>>> (I encourage yasminers to add to his list: "Robert Thill"
>>> <robert.thil lAT
>>> gmail.com>,
>>> and there are numerous examples of art science collaborations
>>> leading to
>>> scientific
>>> papers with the artists as co authors- the one i always like to
>>> cite is the
>>> work
>>> of david dunn and jim crutchfield on bio accoustic ecology
>>>
>>> http://www.acousticecology.org/science.html
>>>
>>> and i just started a twine with examples of scientific papers co
>>> authored
>>> by artists
>>> and scientists= send me additions to rmalina AT alum.mit.edu if
>>> you have a
>>> science paper
>>> co authored by an artist and scientist
>>>
>>> ian and richard= back to you and the wine hands over non
>>> linearily to the
>>> scotch
>>>
>>> roger
>>> _______________________________________________
>>> Yasmin_discussions mailing list
>>> Yasmin_discussions@estia.media.uoa.gr
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>>>
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>>
>> _______________________________________________
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