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Secondary Sensoriality

by prof. Derrick de Kerckhove (University of Toronto), presented at New Media Days, Katowice 2008, www.dninowychmediow.pl

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Secondary Sensoriality

  1. 1. Towards a Secondary sensoriality
  2. 2. Sensory confusion created by literacy <ul><li>Try to say the color that you see, not the name that you read </li></ul><ul><li>YELLOW , GREEN , RED, BLACK , ORANGE , GREEN , BLUE , RED , PURPLE , BLUE , GREEN , ORANGE </li></ul><ul><li>The analytic side of the brain conflicts with the visuo-spatial side </li></ul>
  3. 3. Left/right biases
  4. 4. Literacy conditionning space orientation
  5. 5. The Medium is the Message Virtual means caught somewhere between the Objective and the Subjective See the virtual 3D image between mind and machine
  6. 6. For some people, it is easier with this stereogram…
  7. 7. “ I wouldn’t have seen it if I hadn’t believed it”
  8. 8. The story of art in 3 slides 1. The alphabetic abstraction  Sensory revolution Reconfigura-tion and specialization of the senses The birth of the artistic function The 9 muse
  9. 9. The story of art in 3 slides 2. From the Baroque to Modernism <ul><li>Acceleration by the printing press </li></ul><ul><li>The “re”-naissance </li></ul><ul><li>Obsessive perspectivitism in time and in space </li></ul><ul><li>Man, measure of all things </li></ul><ul><li>The mechanical metaphor </li></ul>
  10. 10. The story of art in 3 slides 3. From Post-Modernism to Neo-Baroque <ul><li>Implosive </li></ul><ul><li>Policultural </li></ul><ul><li>Politemporal </li></ul><ul><li>Global </li></ul><ul><li>Distributed perceptual environments </li></ul><ul><li>A delight in illusion </li></ul><ul><li>Back to the body </li></ul>
  11. 11. Character of the Neo-Baroque <ul><li>Delights in illusion </li></ul><ul><li>Fluid </li></ul><ul><li>Multimedia </li></ul><ul><li>Implosive </li></ul><ul><li>Policultural </li></ul><ul><li>Politemporal </li></ul><ul><li>Global </li></ul>
  12. 12. Continuous externalization of the mind from the «Magic Lantern » to television <ul><li>Screenology </li></ul><ul><li>Three screens </li></ul><ul><li>Reversal of perspective </li></ul><ul><li>Penetration of the screen </li></ul>
  13. 13. An early tendency towards providing the total surround
  14. 14. Quasi penetration of the screen
  15. 15. Immersed in the machine, a tactile environment
  16. 16. From visual to tactile <ul><li>“ Electricity is touch” </li></ul><ul><li>Marshall McLuhan </li></ul>
  17. 17. “ Electricity is touch” (Marshall McLuhan) <ul><li>The extension(s) of our skin = the skin of our extensions </li></ul><ul><li>The hand in the mind (mouse and pointer) </li></ul><ul><li>Number is touch (sampling, statistics) </li></ul>Mark Ngui
  18. 18. The “point-of-being” is electricity’s answer to the point-of-view imposed by literacy
  19. 19. The Reality of the Imaginary = the externalization of the mind on the screen
  20. 20. The « Objective Imaginary »
  21. 21. Mental Objects (MO) and Digital Objects (DO) <ul><li>Jean-Pierre Changeux’s theory of mental objects </li></ul><ul><li>Three categories: </li></ul><ul><li>Percepts </li></ul><ul><li>Memory images </li></ul><ul><li>Concepts </li></ul>
  22. 22. Comparative properties of MO and DO <ul><li>Synaptic connections </li></ul><ul><li>On demand </li></ul><ul><li>Organic electricity </li></ul><ul><li>Constructed </li></ul><ul><li>Front of the mind </li></ul><ul><li>Instant modification in real time </li></ul><ul><li>Morphed </li></ul><ul><li>Combined </li></ul><ul><li>Scalable </li></ul><ul><li>tags </li></ul><ul><li>On demand </li></ul><ul><li>Technological electricity </li></ul><ul><li>Rendered </li></ul><ul><li>Front of the screen </li></ul><ul><li>Modifiable in almost real time </li></ul><ul><li>Morphed </li></ul><ul><li>Sampled </li></ul><ul><li>Scalable </li></ul>
  23. 23. Digital Objects <ul><ul><li>Evoked </li></ul></ul><ul><ul><li>Based on weak currents of electricity </li></ul></ul><ul><ul><li>Reticular </li></ul></ul><ul><li>They are made by different configurations of perceptual, iconic and conceptual networks </li></ul><ul><li>Trames e poligons are equivalent to simulations of concepts (as the written word or symbol is to all human utterances) </li></ul><ul><li>Rendering is the job of the sensory (multi-media) memory (iconic) that adds flesh and colour to the sticks </li></ul><ul><li>Scalable and capable of shortcuts and generalizations </li></ul><ul><li>And created specifically to be tagged and interconnected </li></ul>
  24. 24. La dimension, l’aspect et le niveau d’interactivité de chaque site est fonction des conditions locales
  25. 25. Breaking the visual dominance of the modernist era <ul><li>Cezanne eliminating perspective </li></ul><ul><li>Impressionism: the experience of the sitter instead of the sitter </li></ul><ul><li>Cubism returning form to its origins </li></ul><ul><li>Bringing the hand into the scene </li></ul>
  26. 26. The meaning of « trompe-l’œil »
  27. 27. … versus 3D The reversal of perspective The “end of theory” Multimedia: the recovery of the other senses into the image VR: wearing the image as an extension of the skin
  28. 28. Virtualization
  29. 29. Internet Zero (I0)
  30. 30. From surface to hypersurface via interface <ul><li>From icon to button (Eidos vs “actor”/verb) </li></ul><ul><li>The interval is filling up (end of neutral space) </li></ul><ul><li>Digitization (0/1 = scd) </li></ul><ul><li>The return of the senses in communication </li></ul><ul><li>Hypersurface (= ALL THE SENSES CONVERGING INTO A SINGLE ONE) </li></ul>MarcosNovak: Transarchitecture
  31. 31. The Augmented Body <ul><li>Loss of boundaries </li></ul><ul><li>Restructing of sensory life </li></ul><ul><li>Cyborgism (neo-romanticism) </li></ul>
  32. 32. The body electric
  33. 33. Three cyborgs Steve Mann Stelarc Kevin Warwick
  34. 34. Steve Mann sends what his eyetap sees to the web…permanently
  35. 35. Whatever he is looking at goes on line for anyone to see
  36. 36. Stelarc connects his CNS to someone else’s via the www
  37. 37. Warwick implants sensors for contextual cues from the environment
  38. 38. Recent artistic experiments
  39. 39. Rafael Lozano-Hemmer Relational Architecture
  40. 40. <ul><li>Alzado Vertical: el Zocalo in Mexico City ( Rafael Lozano-Hemmer) </li></ul>
  41. 42. Tunnel sous l’Atlantique
  42. 43. Maurice Benayoun
  43. 45. Cosmopolis (Maurice Benayoun)
  44. 46. Cosmopolis (Maurice Benayoun)
  45. 48. Floatables of Usman Haque
  46. 49. Floatables (Usman Haque)
  47. 50. No man’s data
  48. 51. Courbet-Picasso Stelarc <ul><li>Volcanic theory of art </li></ul>
  49. 52. HOMEOPATHY
  50. 53. Homeopathic Theory Poison (vaccine) Instantaneous circulation in the global nervous system Provokes a defense reaction in the system
  51. 55. How do tags work?
  52. 56. hypertinence
  53. 57. RFID <ul><li>Carlo Infante </li></ul><ul><li>Piero Fantastichini (il grande muro di stelle) </li></ul><ul><li>Giuseppe Stampone </li></ul><ul><li>Maurice Benayoun </li></ul>
  54. 58. © © Chip 40x40cm, particolare del Grande Muro di stelle
  55. 59. Muro di stelle, 2006 2metri x2 © ©
  56. 60. In the electric age, we wear all mankind as our skin
  57. 62. Collaborative Exploration: Consider These You 2 Examples Doppelgänger Merged Identity Medical IDs Avatar No Identity Lifecaster Digital Identity Ubiquidentity
  58. 63. And in a ‘global image economy’ … 92% of girls want to change at least one aspect of their bodies