[-empyre-] installation / enveloping environments

Gordana Novakovic gordana.novakovic at gmail.com
Sat Oct 22 22:34:40 EST 2011

to respond to Johannes: 'a work's affective power, its ritual
effficacy and alchemy (Gordana?), its Artaudian rather than its
political (Brechtian) sense?'

Both? In experiencing interactive works participants non-experts (and
often experts as well), seems to report only about their sensual,
emotional experiences (Artaudian?), regardless of the complexity (or
lack of it) of the so-called 'artistic concept, and I think that
affective powers in any case over-power everything else '. That's the
nature of the medium that overwhelms senses and shuts down cerebral
processes. However, might be that the 'Brechtian' side is expressed in
conference and other presentations where the real experience is
non-existent, and theoretical, philosophical, political...aspects take
over the stage?

Rodney, thanks for yet another bright cut straight to the hear of the
issues, problems, questions garnished with humour...and yes, can it
become finally 'just' (oh, irony) art?

> gratuitous interactivity might pose barriers to other nice words like:
> engagement, enthrallment (or is that just 'thrall' ?), or fugue?

well, the mention of fugue really resonates so strongly with my
ongoing (seems neverending) project titled: Fugue, that I simply could
not resist:

'The basic concept tests the form of the interaction between the sound
and the vision
in a way that is inspired by the complexity of one of the greatest
musical forms:
the art of fugue. The art of fugue is a highly disciplined form of
composition of complex
structure and exact relationship of parts. The title – Fugue – serves
as a metaphor
for the transdisciplinary nature of the project, and for the method
applied: of interweaving
the different perspectives of artists and scientists, different
aesthetics, various
skills and expertise, and personal philosophies, and uniting them into evolving
polyphonic synergy. '

(and if you can be bothered to read more):

'The emergent, evolving nature of Artificial Immune System
algorithm, repetition as a succession of variations of ‘events’, and
the complex structural
and functional interrelationship of the particular elements and
processes that can
be related to the counterpoint, was one of the inspirations for the
fugue concept. The
Artificial Immune System software creates the dynamics of the virtual
immune system
drama, and also constructs and implements the architecture of the
fugue by providing
the functional structure for the communication channels between the visuals
and the sound.

On the other hand, this method is well grounded in the already
successfully applied
artistic method of interweaving, cross-connecting different
specialists and specialisms,
in an effective cross-disciplinary framework for the emergence of synergy
through collaboration; a method resembling the structure of the fugue.
In parallel with
providing the functional structure for the communication channels
between thevisuals and the sound, the Artificial Immune System
algorithm is a bridge between the scientific and artistic aspect of
the project. To establish an appropriate balance
between art and science, artists and scientists have been working
closely together on
both experimentation and evaluation throughout the whole research
process, integrating
their own assessments with the external feedback. (This method also
this concept from the mere application of entertainment industry
oriented software
packages for audiovisualisation.)

Finally, the fugue structure helps to achieve one of the major aims,
by not only representing
all the processes involved, but also at the same time painting a larger picture
of the role of the immune system in the functioning of the human body and mind.
This will illustrate the immune system’s intimate interconnectedness
with the total
sum of particulars that constitute each human being. This approach
affirms holism as
one of the fundamental principles of transdisciplinarity, as seen for
example in the
neurophenomenology of Varela, Maturana, and Thompson, and the biology
of Margulis
and Goodwin.'

(the extract is from the scientific position paper co-authored with
collaborative team - composer and scientists, published in Notes on
Computer science - full text

have a lovely day
off to grab last bits of sunshine for this year

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