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2015
Ambience and immersive technological environments allow us to explore some basics of human pragmatics that lie beyond linguistics, intentionality and the subject-agency perspectives of human interaction. We focus on gesture and the body in sense-making and propose a discussion drawing on a non-dualist and agent-free account of embodied, material experience. By agent-free we mean an approach that does not presume a monolithic subject. Moreover, we deal with the problem of intersubjectivity by studying the human coordination of activity without appealing to a transmission theory of communication. [6] We achieve this by considering how gesture spans multiple bodies and how aesthetic design works with this and facilitates it. The paper is in two parts, the first part covers movement studies, focusing on gesture and body movement, drawing on the acting and pragmatics, and the second part develops this with the example of the TGarden, a responsive play space for experimental performance a...
2006 •
In this essay I discuss a series of art installation cum performance events called TGardens. These tangible environments'computationally augmented media respond to the improvised gesture and activity of theirinhabitants. They were designed as phenomenological experiments about interaction andresponse, agency, and intention. I describe the architecture of these performative spacesin enough detail in order to be able to address certain phenomenological questions aboutagency and the continuum of intentional and accidental gesture in the dynamical substrateof calligraphic media without grammatical superstructure.
The aim of this paper is to take first steps in direction of a scientifically oriented aesthetics of New Media Art, taking into account the transformation of musical aesthetics taking place at present induced by new digital methods in artistic sound and music computing. Starting from the observation of relevant current issues in music composition and performances such as gesture control in algorithmic sound synthesis, live coding, musical robotics, and live algorithms for music, certain important concepts concerning a theory of human-machine interaction, which are at present under development in our research project C10 "Artistic Interactivity in Hybrid Networks" as part of the collaborative research center SFB/FK 427 "Media and Cultural Communication", are introduced and related to artistic practices. The essential concept of this theory – "interactivity" – is used as a generic term for different kinds of human-machine interactions and is closely relat...
2009 •
How might our logic be changing as ubiquitous computing links our gestural acts to those of distant, yet virtually present bodies? Neurological researchers along with theorists of embodiment will be drawn into a consideration of the negotiation of moving bodies though sensor-mined environments, exploring the impact such negotiations have on the generation of meaning. The body will be considered as a complex system of transducers, actuated by diverse powers in collaborative environments. Interactive sound installations created by the author will be analyzed as triggers to a consideration of techno-spliced gestures in mixed reality.
Digital Arts and Culture 2009
Fusing Bodies: A Consideration of Techno-Spliced Gestures in Interactive Installations2009 •
ACM Transactions on Computer-Human Interaction
Performing perception—staging aesthetics of interaction2008 •
In interaction design for experience-oriented uses of technology, a central facet of aesthetics of interaction is rooted in the user's experience of herself “performing her perception.” By drawing on performance (theater) theory, phenomenology and sociology and with references to recent HCI-work on the relation between the system and the performer/user and the spectator's relation to this dynamic, we show how the user is simultaneously operator, performer and spectator when interacting. By engaging with the system, she continuously acts out these three roles and her awareness of them is crucial in her experience. We argue that this 3-in-1 is always already shaping the user's understanding and perception of her interaction as it is staged through her experience of the object's form and expression. Through examples ranging from everyday technologies utilizing performances of interaction to spatial contemporary artworks, digital as well as analogue, we address the notio...
Living Architecture Systems Group White Papers
Theater Without Organs: Co-Articulating Gesture and Substrate in Responsive Environments2016 •
Ludwig Wittgenstein's skepticism about the expressive scope of propositional language, Jacques Derrida's critique of logocentrism, generalized via semiotics to all forms of representation, and Judith Butler's analysis of the performativity of gender motivate the turn to performance as an alternative to representation. In this essay I discuss a genre of responsive environments in which computationally augmented tangible media respond to the improvised gesture and activity of their inhabitants. I propose that these responsive environments constitute an apparatus for experimentally investigating questions significant for both performance research and philosophical inquiry. The responsive environments were designed as sites for phenomenological experiments about interaction and response, agency, and intention under three conditions: (1) the participants are physically co-present, (2) each inhabitant is both actor and spectator, (3) language is bracketed. The last condition does not deny language, but focusses attention on how an event unfolds without appealing solely to textual or verbal communication. As such, these environments constitute performative spaces whose media -- sound, visual field, acoustics and lighting, objects and furnishings -- can be reproducibly conditioned, and in which actions can be rehearsed or improvised. I will describe the apparatus of these performative spaces in enough detail to be able to address certain phenomenological questions about the continuum of intentional and accidental gesture in the dynamical substrate of calligraphic media : continuous fields of video and sound or other computationally animated materials, continuously modulated by gesture or movement. I suggest that emerging forms of calligraphic media present an alternative to linguistic pattern for the articulation of affectively charged events, practically and theoretically interrogating the status of narrative in the construction of theatrical events. The central question, however, is how can ambient and its inhabitants co-articulate an event, or in a related phrasing, what are the dynamics of a meaning-making event? The techniques I employed in a new kind of dynamics for temporal media and people to co-articulate an event were essentially an energetic dynamical system not in the stratum of physical bodies and objects but in the stratum of metaphor, or more precisely of state of event. Modelled after statistical physics of continuous media, this sort of dynamics differs radically from fixed scores and timetracks, from boolean logic, and also from aleatory techniques. Moreover, the dynamics allows unbounded multiplicity and continuous overlapping state, profoundly distinct from digital logic and graph-theoretic logic. Eppur si muove.
2013 •
1. Moving imagination: Headlines and themes (by De Preester, Helena) 2. Bodily resonance (by Sheets-Johnstone, Maxine) 3. The moving body: Gestural recreation of the world in drama (by Escribano, Xavier) 4. Movement, gesture, and meaning: A sensorimotor model for audience engagement with dance (by Seeley, William P.) 5. Achieved spontaneity and spectator's performative experience - The motor dimension of the actor-spectator relationship (by Sofia, Gabriele) 6. The digital body in contemporary American cinema (by Luceri, Marco) 7. Embodiment: Technologies and musics (by Ihde, Don) 8. Is gesture knowledge? A philosophical approach to the epistemology of musical gestures (by Funk, Michael) 9. Sound in film as an inner movement: Towards embodied listening strategies (by Huvenne, Martine) 10. Body English: Kinaesthetic empathy, dance and the art of Len Lye (by Parmenter, Michael) 11. The somatic in kinetic sculpture: From Len Lye to an introverted kinetic sculpture (via Donna Haraway...
Proceedings of the 5th conference on Creativity & …
Gesture and response in field-based performance2005 •
This paper explores some of the important steps in the evolution of my doctoral research, which aims to relocate the notion of dramaturgy from the performing arts into interactive installation art. It briefly contextualises dramaturgy in the 21 st century, and analyses the dramaturgical transformations caused by the impact of technology. It uncovers the still open process of the composition of a performative interactive installation, which supports the development of space dramaturgy concept. Developing the concept of space dramaturgy presupposes the analysis of other compositional elements vital for the elaboration of the concept: space, body and technology. The first aspect to be analysed is the philosophical scope related with both individual and collective experience of space. This draws on Bachelard, Merleau-Ponty and Lefebvre's spatial theories. The theoretical underpinning is followed by a review of the process behind practice-based research, reflecting on the possibilities of adapting that to a dramaturgical questioning. Finally, the paper enquires into the interweaving of spatial bodily experience, participation, technology, the importance of time, and memory as a mean of finding performativity in interactive art installation, taking as a specific example the doctoral practice research.
Images in Premodern Societies, Firenze, 2023, 90-99.
Interview (Manuel Castiñeiras)2023 •
Hrvatski arheološki godišnjak
Cesargrad, Hrvatski arheološki godišnjak 15/2018, 2019, 265-2672019 •
مسألة واجب الوجود عند فلاسفة الإسلام: دراسة تحليلية نقدية
مسألة واجب الوجود عند فلاسفة الإسلام: دراسة تحليلية نقدية2024 •
"Wiadomości Archeologiczne"
Andrzejowski/Rakowski, Cmentarzysko kultury przeworskiej z Grzebska... / A Cemetery of the Przeworsk Culture at Grzebsk...2019 •
Vladimir Shirogorov. "Ukrainism of Mālum Discordiæ: Strategy of War and Growth, Setting up the Strategic Scene," in Jeremy Black (ed.), The Practice of Strategy. A Global History. Roma: Società Italiana di Storia Militare; Nadir Media, 2024
Vladimir Shirogorov. Ukrainism of Mālum Discordiæ, Strategy of War and Growth, Setting up the strategic scene2024 •
Sovereignty and (De)Civilizing Processes in the Israeli Habitus between Revolution and Counterrevolution: A Three-Act Story?
HSR 49 2024 2 Helled Sovereignty and De Civilizing Processes2024 •
Authorea (Authorea)
Cobalt Hydroxide Nanoparticles: Preparation, Synthesis, Characterization and Application in Supercapacitor2023 •
South Dakota Academy of Science
A NEW SPECIES OF HOPLOPTERYX FROM THE CARLILE FORMATION (CRETACEOUS) OF SOUTH DAKOTA2016 •
2010 •
Annals of Surgical Oncology
Comparison of Magnetic Resonance Imaging and Histopathological Response to Chemoradiotherapy in Locally Advanced Rectal Cancer2012 •
IOSR Journal of Pharmacy and Biological Sciences
Estimation of G6pd Status in the Rajbangshi Population of Sushrutanagar2013 •
2020 •
Archives of Cardiovascular Diseases
Initial French experience of percutaneous mitral valve repair with the MitraClip: A multicentre national registry2013 •
2020 •
Journal of the American Academy of Dermatology
Early B-cell chronic lymphocytic leukemia presenting as cutaneous lesions with a normal peripheral blood lymphocyte count2005 •
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