Tesla Event at UCL: Dr Brigitta Zics - How to think about Art and Design in the Age of Consciousness Research

How
to
think
about
Art
and
Design
in
the

Age
of
Consciousness
Research

Dr.
Brigi:a
Zics

Transtechnology
Research
University
of
Wales
Newport

Room
B321
Portland
Square
School
of
Art,
Media
and
Design

University
of
Plymouth
Room
J
14
Caerleon
Campus

Drake
Circus
Lodge
Road,
Caerleon

Plymouth
Newport

PL4
8AA
NP18
3QT

Technology
art
interacLon
technology-‐based

art
passive
interacLon
arLst-‐spectator

Immediacy
meaning
creaLon
human-‐machine

acLve
spectatorship
cogniLve-‐based
invisiblity

transparency
consciousness
body-‐mind
nexus

embodied
knowledge
phenomenology
mastering
the
tool

knowledge-‐seeking
transdisciplinary

biofeedback
eye-‐tracking
cogniLve-‐feedback
loop

Transparent
Act

The
Problem

How

Technology
as
CreaLon
Process

j
and

Technology
as
Art
(
&
Design)

understood
in
contemporary
literature,

InsLtuLons
and
among
pracLLoners?

The
Problem

InsLtuLonalisaLon
of
Art
does
not
provide
a

plaVorm
for
Technology
as
Art


Technology-‐based
Art

The
ExisLng
Models

DualisLc
Approaches
to
CreaLve
PracLces:

ART

DESIGN

ART

TECHNOLOGY

ART

SCIENCE

ART

RESEARCH

The
SoluLon

Critiquing Contemporary Frameworks and Strategies

BEYOND CURRENT BEYOND DISCIPLINES BEYOND INSTITUTIONAL
CREATION PROCESSES FORMS

video: http://www.vimeo.com/11303681

Technology
brought
radical
change

to
creaLon
processes…



Challenging
old
form
of

disciplines
and
insLtuLons

DualisLc
Strategies
loose
their
Validity

ART

DESIGN

ART

TECHNOLOGY

ART

SCIENCE

ART

RESEARCH

ART
IN
MUSEUM

TECHNOLOGY
IN

EVERYDAY
LIFE

Technology
Transdisciplinarity

‘…transdisciplinarity
concerns
that
which
is
at
once
between

the
disciplines,
across
the
diﬀerent
disciplines,
and
beyond
all

discipline.
Its
goal
is
the
understanding
of
the
present
world
,

of
which
one
of
the
imperaLves
is
the
unity
of
knowledge.’

(Nicolescu
1997,
np.)

Arts
Technology
Philosophy
Psychology
Sciences

Applying
Technology
not
as
Science

Technology
How philosophy might help us practicioners to
implement technology in a way that is different to
the scientific modality?

 rejecting the assumption that as technology
emerged through a scientific validation process
therefore it only applicable effectively in this
context.

Technology
Recovering
New
QualiLes

Technology
of
Human
Experience

Interactive technology introduces a new potentiality
to art, or possibly art uncovers unforeseen
potentials…

The means of aesthetic enquiry might, in this
context, reveal or recover yet unknown or forgotten
qualities of human condition and experience.

Technology:
The
Radical
Change

to
CreaLon
Processes

•  Dynamicity

•  ArLst
–
Spectator
relaLonship
became:

Human
–
Computer
relaLonship

•  Thinking
about
Experience
diﬀerently

•  AestheLcs
based
on
human
acLon

Dynamic Experience transformed the spectator to active participant
Artist –Spectator Relationship

Zics 2007/2008

RevisiLng
DualisLc
Concepts
of
Philosophy:

•  Invisible-‐Visible

•  Ready-‐to-‐hand
–
Present-‐to-‐hand

(Heidegger,
1927)

•  Technology
as
funcLon

-‐
Technology
as

Meaning

• 
ArLst
-‐
Spectator

•  Body
–
Mind

Philosophy
of
Technology

Heidegger’s

‘ Tool’
as
Technology

Invisibility
and
Visibility

ready-‐at-‐handiness
present-‐at-‐handiness

where
the
user
is

describe
situaLons

already
a
master
of
where
a
person

the
tool
afends
directly
to

the
object
with

conscious
intent

INVISIBILITY


VISIBILITY

Heidegger’s

‘ Tool’
in
ApplicaLon

Invisibility
and
Visibility

ready-‐at-‐handiness
present-‐at-‐handiness

where
the
user
is

describe
situaLons

already
a
master
of
where
a
person

the
tool
afends
directly
to

the
object
with

conscious
intent

TECHNOLOGY
AS
 TECHNOLOGY
AS

FUNCTION

MEANING

BUT
NOT
AS
FAILED

FUNCTION

‘present-‐at-‐hand’
-‐
Technology
as
Meaning

‘ARTISTIC
CONTENT
SEEKING’

(Meaning
CreaLon)

Acquiring
Knowledge
through
AestheLcs

‘ready-‐to-‐hand’
–
Technology
as
FuncLon

‘MASTERING
THE
INTERFACE’

Acquiring
FuncLonal
Knowledge

-‐
Technology
as
Meaning

Meaning creation here refers to process of the spectator interaction with
the artwork which creates new meaning. ’Exploring the meaning of the
interface itself’ (Rokeby 1995, p.133)

Rorschach Test

As Umberto Eco described meaning in his crucial work Open Work (1989)
it is not a ‘content’ or message’ but it is the artist’s anticipation of multiple
engagement of the spectator.

–
Technology
as
FuncLon

‘MASTERING
THE
INTERFACE’

Acquiring
FuncLonal
Knowledge

Known as Design Approach:
The learning process of the the technological tool.
The aim is to achieve interactions affording
continuous and immersive states.

Going
beyond
Heidegger’s
concept:

Invisibility
Versus
Transparency

It
could
be
suggested,
that
a
disLncLon
can
be
made

between
facilitaLng
a
stage
between
the
purely

invisible
and
visible
stages
of
interacLon,
through

understanding
the
interacLve
process
as

levels
of
transparency
(Zics
2008)

Visibility

Visibility

Transparent
Technology

meaning production

transparency

interface

man

mastering the tool

Transparency
in
the
human
–
technology
relaLonship
could

be
considered
as
an
oscillaLng
process
where
the

arLst
allows
interacLons
that
are
in
a
constant
state
of
ﬂux

between
reﬂecLon
and
pellucidity.

Transparent
Technology

.

This
implies
that
these
interfaces
incorporates
a

reﬂecLon
process
(being
visible)
as
a
meaning

creaEon
into
the
interacLon,
favouring
a
learning

process
of
the
user
to
inhabit
novel
meaning.

meaning production

mastering the tool

Transparency

ArLst
–
Spectator
RelaLonship

ApplicaLon
of
transparency
implies
to
produce
an
immediacy

between
the
arLst
and
spectator
producing
novel
knowledge

for
the
spectator.


The
creaLon
process

(
arLst)

and
experience
process

(spectator)
becomes
one
cogniLve
ﬂow.

spectator

artist

The
Transparent
Act

The productive cognitive act of mastering the tool
.

(immersion) and meaning creation (reflection)
anticipated by the artist with an outcome of
novel knowledge production.

• The aestheticisation of the artist-spectator relationship

• Level of transparency’ relates to successful
cognitive interconnections between artist and spectator

reflection
TRANS-PARENT
TRANS-DISCIPLINARY

immersion

Transparency
produce
a
soluLon
to
the
dualisLc

qualiLes
of


–

(Heidegger,
1927)

•  Technology
as
funcLon

-‐
Technology
as

Meaning

•  ArLst
-‐
Spectator

Body
–
Mind

Body
–
Mind

relates
to
the
qualiEes
of
material
and

immaterial
and
the
quality
of
their

interconnecLon

Body
–
Mind

the
body-‐mind
nexus
operate
as
an
aestheLc

tool
in
the
design
of
spectator’s
experience

Technology-‐based
Art

J. Gibson (1950) Luc Desnoyers (2008)
Original by Ernst Mach’s (1897)

Alva Noë (2001) suggests: Art might not only re-produce an idealistic
representation of a room but rather demonstrate the sensation of “being
in the room“.

Art
Works
Considering

Body-‐Mind
Nexus

Peter Weibel

Julius von Bismarck
Peter Weibel

Joachim Sauter & Dirk Luesebrink

BIOS team Alvin Lucier
Click
on
the
pictures

Shawn Lawson & Wafaa Bilal Takehito Etani
Nam June Paik Gordon Pask

The
Mind
Cupola,

An
AffecLve
Environment

AffecLve/AffecLon

Biofeedback
Technology

CogniLve
Feedback
Loop

Passive
InteracLon
(
or
AffecLve

InteracLon)

Aﬀect/
AﬀecLon

…either word denotes a personal feeling (sentiment in Deleuze and Guattai).
….an ability to affect and be affected. It is a prepersonal intensity
corresponding to the passage from one experiential state of the body to
another and implying an augmentation or diminution in that body’s capacity to
act. (Massumi on Deleuze and Guattai 1987, xvii)

Aﬀect/
AﬀecLon

Applying Affection in Creation Process:
…way of anticipating the spectator’s cognitive reactions and setting
up a bodily semantics and aesthetics for each interaction.

-‐
Technology
as
Meaning

‘MEANING
CREATION’
–
REFLECTION

ACTIONS PREDICT NEW MEANINGS

If we understand the
‘mastering the interface’
processes as producing
new meaning through
particular body states we
might find a more effective
way of interaction.

–
Technology
as
FuncLon

‘MASTERING THE INTERFACE’ - INVISIBILITY

INHABITED ACTIONS of the BODY

Transparent
Act
in
the
Mind
Cupola

The
success
of
the
mastering

of
the
interface
is
based
on

the
success
of
the
arLst
in

implemenLng
the
cogniLve

qualiLes
(‘AFFECTIONS’)
of

the
user
in
such
a
way
that

the
technological

engagements
become

embodied,
producing
new

knowledge.

Affective Technology:
Biofeedback interface

Interaction:
through cognitively inclusive
sensorimotor
capacities of the user

Cognitive-driven Interaction:
self-regulating processes
In the user’s experience

Biofeedback
ApplicaLon
for
InteracLon

Producing
Aesthe7c

Experiences

Laura Colmenares Guerra - Lungs: The Breather 2008 Christa Sommerer & Laurent Mignonneau: Mobile Feelings
2002/03

These artistic works
investigated the
interconnection between
cognitive processes and
aesthetic meaning production

BIOS - Bidirectional Input/Output System 2002/03 Andrea Polli: Intuitive Ocusonics, Eye-driven sound interface
Bioofeedback Art Archive on MediaArt 1998
Tube:
http://www.youtube.com/view_play_list?p=C51BC89CDE587C1F

Biofeedback
and
InteracLon

Measuring
bodily
funcLons:

facial
expression

EEG
for
brain
acLvity

ECG
for
heart
rate

EMG
for
electrical
discharge
in
the
muscle
ﬁbres

eye-‐tracking

EOG
for
the
resLng
potenLal
of
the
reLna

GSR
for
electrical
qualiLes
of
the
skin


Meaning Production:
Evaluating the Cognitive Qualities of the Spectator

Passive Interaction>< Active Interaction
video: http://www.vimeo.com/7062293
Examples of Active Interaction:

Iwai Toshio, Nishibori Ty: Tenori-On 2005

Brigitta Zics - Mirror_SPACE 2004/05
ACTIVE INTERACTION: Bodily Controlled
Interface; full body immersion, active bodily
motion. tangible interfaces

PASSIVE INTERACTION: Cognitive
Response Evaluation of the Spectator

Digital Luthiers: Reactable, 2003/05 Squidsoup - Driftnet, Responsive Environnent 2007

Passive
InteracLon

Passive
InteracEon
refer
to
interacLon
that
acLvate

parLcluar
body-‐awareness
of
the
sepcectators;
it
applies

affecLve
bodily
responses
as
meaning
creaLon.

The
terminology
is
used
to
diffrenLate
art
works
from
acLve

interacLon

that
uses
tangible
or
full
body
interfaces)
since

passive
interacLon
parLcularly
intersted
in
the
cogniLve

responses
and
their
evaulaLon
of
the
spectator.

Technological
applicaLons
are
affecLve
compuLng
or
instant

affecLon
technologies.

The
Mind
Cupola:
Passive
InteracLon

Users
are
invited
to
step
into
the
The
interacLon
process
ﬂuctuates

immersive
surroundings
and
between
the
natural
reacEons
of

relax.

facial
and
eye
movement
and

controlled
responses
through

which
the
user
learns
to
produce

meaning.

The
Mind
Cupola
interface
is
formed
of
three
interconnected
systems:

• a
biofeedback
percepLve
system
(face/eye
capture
system)
–AffecLve
compuLng

• 
a
frequency-‐generaLng
affecLve
system
–
Instant
affecLon
technologies

• 
real-‐Lme
visualisaLon
/
digital
readout
–
AffecLve
visualisaLon

Passive
InteracLon

Self-‐reflecLve
Process
Meaning

The
Transparent
Act
is
a
result
of
self-‐reflecLve

process
when
the
user
re-‐evaluates
his/her

knowledge
of
‘being-‐in
the-‐world’
afaching
new

meaning
to
it.


through
self-‐reflecLon
the
user
might
start
to
act

against
his/her
embodied
acLons

This
new
meaning
producEon:

fluctuates
with
the
insLnct
and
unconscious
acLons

of
human
acLon
which
helps
to
maintain
the

cogniLve
flow
in
the
interacLon.

CogniLve
Feedback
Loop

InterconnecLng
AffecLve

CompuLng
(monitoring
the
user)

with
Instant
AffecLon
technologies
(affecLng
the
user)

to
subject
the
parLcipant
to
intenLonal
decisions
to
operate
the
system.

1.
AffecLve
CompuLng

AffecLve
compuLng
invesLgates
the
relaEonship

between
emoEon
and
cogniEve
processes
and
how

the
tracking
and
evaluaLon
of
this
informaLon
helps

to
produce
more
qualitaEve
interacEons
between

human
and
machine.

(Picard
2000)

Mainly
focuses
on:
facial
qualiEes
and
how
parLcular

affecLons
reflect
on
the
facial
physiology

Customized Open Source Eye-
tracking System Track Eye v2.0

AﬀecLve
VisualisaLon
through
Eye-‐tracking

•  The
visualisaLon
engages
the

user
with
percepEve
aﬀecEon

that
requires
both
insLnctual

and
conscious
control
to
form
a

relaLonship
through

interacLon.

•  Whilst
the
user
might
look
for

hidden
messages
on
the
display

by
using
the
gaze
of
their
eyes

as
a
control
mechanism,
at
the

same
Lme
they
change
their

environment
through
the

behavioural
analysis
of
the

system.

SemanLcs
of
the
VisualisaLon

Neuro-linguistic Application

SemanLcs
-‐
E-‐Trans
Board

Applied
by
Paralyzed
People
as

CommunicaLon
Device

E-‐Trans
comprises
a
sheet
of
perspex
a
bit
bigger
than
A4.

Lefers
of
the
alphabet
are
grouped
in
each
corner
of
the
board.
Within

each
corner
group,
all
the
lefers
are
a
diﬀerent
colour.
There
are
also

six
coloured
blobs
arranged
around
the
board.

Source:
hfp://www.eyelife.org/

SemanLcs
of
ImaginaLon

New
Scien7st
describes
a
46-‐year-‐old
woman
who
was
totally

locked-‐in.

CommunicaLon
through
measuring
the
pH
of
saliva.

They
trained
the
woman
to
change
the
acidity
of
her
spit
by

imagining
either
the
taste
of
lemon,
or
the
taste
of
milk.


She
learned
to
push
the
pH
one
way
to
say
"yes",
the
other
to

say
"no".’

2.
Instant
AﬀecLon
Technologies

are
Technologies
that
aﬀect
the
spectator's
cogniLon
instantly
as
a
response

(
by
meaning
creaLon)
to
their
interacLon
with
the
system

Electromagnetic Devices:
Sound,
Vibration,
Radiations,
Mechanical Vibrations
and Affective Visualisation System

Instant Cognitive Affection of the User

AﬀecLve

Environment

These affection
devices generate a
spectrum of
electromagnetic
frequencies of
sound, hot and cold
stream and visual
affects to guide the
person towards an
optimal experience.

An amplification of
everyday affection of
environment of
human cognitive
faculties

Passive
InteracLon
as
CogniLve
Feedback
Loop

The
mastering
of
the
Mind
Cupola
implies

that
the
user
learns
and
lives
the
rules
of

interacLon
that
is
built
upon
the

percepEve/a:enEve
qualiLes
and

thermodynamic/electromagneEc

qualiLes
of
the
body,
through
which
they

have
the
potenLal
to
control
their
own

responses.

The
system,
is
based
on
behavioural

analysis
and
the
thermodynamic

features,
afempt
to
balance
the
user’s

response
with
heaEng
and
cooling
his/
her
face.

New Applications: Enhancing Well-being

Mind Cupola offers a radical knowledge practice acting through bodily
capacities that establish a heuristic quality to learning.

As this kind of passive interactions produce new embodied knowledge with
increase of psychophysical control of the body, they might provide potential
therapeutic and health-promotion applications which provides a main
objective of future research into biofeedback art

TRANSDISCIPLANRY
SOLUTION:
situated
at
the
intersecLon
of

art
&
design,
arLﬁcial
intelligence
and
consciousness
studies.

APPLICATION
in
NEW
DESCIPLINES:
providing
a
learning
process

that
evaluates
and
afends
to
the
level
of
cogniLve
immersion

and
stress
on
the
user
and
alters
levels
of
aﬀecLon

accordingly.

Although
the
Mind
Cupola
was
formulated
on
the
basis
of

being
an
arEsEc
intervenEon
as
opposed
to
a
‘designed’

purpose
as
a
transdispilnary
soluLon
provide
new
insights

in
Design,
Science
and
Philosophy.

Produced
a
SoluLon
to


–

•  (Heidegger,
1927)

•  Technology
as
funcLon

-‐
Technology
as

Meaning

• 
Body
–
Mind

•  ArLst
-‐
Spectator

DualisLc
Strategies
loose
their
Validity

 Transdisciplinarity

ART

DESIGN

ART

TECHNOLOGY

ART

SCIENCE

ART

RESEARCH

ART
IN
MUSEUM

TECHNOLOGY
IN

EVERYDAY
LIFE

TRANS-PARENT
TRANS-DISCIPLINARY

Technology
brought
all
disciplines
to
the
same
plaVorm.

Understanding
Technology

Consciousness
Research

All
PlaVorms
and
Disciplines
can
beneﬁt
from
Consciousness

Research.

Current
PracLces
challenging
the
boundaries
of

disciplines,
approaches,
modaliLes
and
ideologies.

Call
for
the
need
of
a
re-‐evaluaLon
of
insLtuLonal
formats
and

plaVorms.

Art and Design in the Age of Consciousness Research

©
David
Coppit

@ Dr Brigitta Zics TransTechnology resreach University of Wales Newport / University of Plymouth/
www.zics.eu brigitta.zics@newport.ac.uk or brigittaopal@gmail.com

Tesla Event at UCL: Dr Brigitta Zics - How to think about Art and Design in the Age of Consciousness Research

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Tesla Event at UCL: Dr Brigitta Zics - How to think about Art and Design in the Age of Consciousness Research