Re: [-empyre-] Artists as internal mental sense organs

[hight@34n118w.net]

> Melinda
Hello.

There needs to be a better sense of the fluidity of data and
interpretation instead of a presentation of data and then navigation.  In
writing one is taught to flesh out "round" characters instead of "flat"
ones.  A round character can and will change, evolve, is set with
oppositions, contrasts, shadings, variant tonalities....

The exciting thing about concepts in augmented reality and locative
interlacing of data, interpretation and physical place is how it opens up
as yet fairly uncharted routes of establishing data and self relationships
that can sustain a simultaneous sense of self as factual and alligned in
metaphors as well as of space as literal, enhanced, and open to
metaphors..

some video games are increasingly working with functionality beyond "cause
and effect"  and instead work with fluid identity in character, gamplay
and even setting............it is this complex interplay that is evolving
in locative technology as well.............


there are early pathways in sight and image processing referred to as
"caveman paths"    one is what you feel and see zoning out while
driving............it is an  ancient nueral pathway of pure spatial data
and possible danger .............these are cause and effect........

more evolved are the newer and more complex pathways............

it is no coincidence that the most creative state in terms of brain
activity is charted as just on the edge of sleep..............it is a
fusion of old and new pathways........of heightened spatial awareness and
a sense of analysis and curiosity apart from more systematic and redundant
processing (the mental version of the daily grind!)

jeremy hight







hi Nancy, jack and William,
> great to have you a guest and thanks for the great discussions  so far.
>
> yesterday i got together to with a few artists in Sydney,,., after a yummy
> lunch and some Moscow mules, our conversation turned to  possible  reasons
> why we  are continually  limited and conservative in our representations
> of
> ourselves online in gaming and 3d worlds, and wandered from quantum
> computing, string theory and pre cognition as possible answers..
>
> someone from this list commented, and they are probably out of email range
> now, so ill offer up his thoughts... that until our physical means of
> computing changes from a sort of "cause and effect" model, to a "being"
> model, the way in which we interact and present  ourselves virtually
> can't
> possibly  change..
>
> so im interested in how you can communicate/translate sensorial and
> non-standard perceptions when we don't have a flexible technological basis
> to do that , nor even -  as an audience - minds flexible enough to accept
> information  from outside that pre-recognised data
>
> .did that make sense..?
>  melinda
>
>
>
> William Tremblay wrote
>
>> The mechanisms of perception and comprehension, ostensibly tasked with
>> keeping us more or less in sync with our surroundings, were not
>> "designed". They grew reactively, coevolving with the viability of the
>> species' animal survival. Human brains have many functions that are
>> evolutionarily old. Consequently they are overwhelmingly complex and
>> (currently) inscrutable, and surely built by chance upon the unlikely
>> interrelation of disparate phenomena. It is a system with great
>> redundancy and obscure cross-linkages. It is also a system with enormous
>> potential for multiple simultaneous and often non-communicating
>> perceptions, with heavy emphasis on pattern recognition and immediate,
>> non-reasoned apprehension.
>
>  Art is therefore a means of enabling the parts of our
>> minds that know, but can not speak, to participate in conscious life.
>> Often, the only means of accessing that part involves the cultivation of
>> non-standard cognitive pathways and mappings. To assume the profession
>> of artist is to become a surrogate sensor and (mis-)translator of the
>> internally perceivable to the external world.
>
>
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