Emergence = Much coming from Little (Holland)

“Something is happening in crying, for example, that goes beyond any strategic
‘work’ that the person may be ‘doing’ and that is not captured by discriminating
the interaction ‘practices’ the person’s behaviour demonstrates. Some sort of
feeling arises. Between oneself and the world there is a new term, a holistically
sensed, new texture in the social moment, and one relates to others in and
through that emergent and transforming body for experience. A kind of
metamorphosis occurs in which the self goes into a new container or takes on
a temporary flesh for the passage to an altered state of social being.”

in  Katz (1999), p343 cited in The Aesthetics of Emergence: processual architecture and an ethico-aesthetics of composition (p.24)  Pia Ednie-Brown

"..the problem of emergence itself. Simply put, this problem lies in a diffi cultly reconciling two apparently disjunct, but intrinsically connected and equally real occurrences: the
nature of the whole and the action of the parts".
in The Aesthetics of Emergence: processual architecture and an ethico-aesthetics of composition (p.41)  Pia Ednie-Brown

"Emergent phenomena are properties that seem to exist at a different
level to the interactions that generate them. They are properties of a
whole that seem magically disconnected from the properties of its parts.

For creative practices such as art and architecture, emergence generally appears
as an issue in relation to works that involve digital computation and interactivity.
Inquiries are commonly concerned with the invention of generative
and/or interactive systems (or designing a design system rather than
a design product)". (p.59)

aesthetically inclined notion of emergence as an elastic, dynamic model pertaining to
a mode of engagement, a way of relating, a perceptual orientation and a
mode of composition. (p.68)

"As a companion to the aesthetic and the ethical, emergence is a way of appearing, making, acting, doing; a mode of composition or an organising principle that always involves drawing forms of coherence out of a texture of collectively transformational patternings."
from The Aesthetics of Emergence: processual architecture and an ethico-aesthetics of composition (p.98)  Pia Ednie-Brown

Holland, J,. (1998), Emergence. From Chaos to Order. p.231

emergent interactive art systems:

How do emergent interactive art systems creatively transform subjective experiences of spaces/places? #RQ #PhD

So-whats the difference between a space and a place?

Emergence = open ended. something new and surprising occurs. something that is different from whats expected and is more than the sum of the parts.
Interactive art systems = contextualised within the continuum of practice and theory.
Subjective = how one experiences something.

some thoughts....
Does my project concern the interaction experience or is it concerned with the experience that 'lingers' after or prior to a renewal of contact with the interactive art system? - my project resonates more with Edmonds' 'ambient' and 'relating' categories ( on p. 237) is my concern the transformative affect that anticipation and the 'touch point' of contact with the interactive art system has on the audience.
They have been engaged by the IASystem ( direct/attracted: Edmonds p. 237) but the sense of anticipation of another visit by the IA system transforms their experience of what ever context they are in.


The interactive system comes to them. rather than the audience going to the IA System. , perhaps they are in a particular space , ( school, hospital etc) but within that context the I As system roams, perhaps randomly, and comes across them at random moments. This disrupts their 'lived experience' but once attracted / or having had direct engagement ) with the IA system they seek to have further experiences of it- this is partly perhaps because of its unpredictability, but also its playful nature, That is that the IA System requires playful ness to become activated. It thrives on random acts of play. The boundaries between the everyday  experience of a space are disturbed by the presence of a meandering interactive art system.

and then there is this: electro - active polymers and Shape shifting..

 Shape shift by Manuel Kretzer

Electroactive Polymer (EAP) Robot Blimp and not as beautiful but interesting..Electroactive polymer (EAP) balloon actuator Inflated electroactive polymer (EAP) actuator driven by dielectric elastomers. The actuator was developed at Empa Dubendorf (Switzerland). More detailed information on this novel actuator technology can be found at www.empa.ch/eap/.

Reading and having mind blown ( again) by Interacting: Art, Research and the Creative Practioner.

From Linda Candy and Ernest Edmonds at the Creativity and Cognition studio at UTS. Lots of Schon -Reflective Practitioner (1983) and Dewey - Art and Experience (1934) with rigorous commentary by Scrivener.
"In projective reflective practice the maker must make ways of making a situation that perplexes, …this is the second feature of art and design knowledge production, as distinct from problem solving production.
That is to say practice that willfully seeks to yield artifactual situations…
in short a practice of 'problemitising' everyday practice for the purposes of generating the unexpected. ..it is the gap between prior understanding and surprise which constitutes new knowledge and understanding" ( p. 70) 

reading and re-reading ,writing and distraction..

Reading and re-reading ; Sullivan; Art Practice as Research-braided inquiry- and Candy and Edmonds :Interacting:Art,Research and the Creative Practitioner. George Khut's Participant centered Biofeedback artwork thesis. http://georgekhut.com/. Inspirational..

Writing; Methodology, well trying...

Distracted; by The Event of a Thread,  Installation by Ann Hamilton.

Thinking about #wngtnLux, #Belugas and whats next - playful interface, hmmm

which loops me nicely back to Sensorium

I read this a while ago, but I think I'll need to revisit it after looking at Beesley's Kinetic Architecture over the last couple of days. Sensorium is here at Amazon. 
The relationship between the body and electronic technology, extensively theorized through the 1980s and 1990s, has reached a new technosensual comfort zone in the early twenty-first century. In Sensorium, contemporary artists and writers explore the implications of the techno-human interface. Ten artists, chosen by an international team of curators, offer their own edgy investigations of embodied technology and the technologized body. These range from Matthieu Briand's experiment in "controlled schizophrenia" and Janet Cardiff and Georges Bures Miller's uneasy psychological soundscapes to Bruce Nauman's uncanny night visions and François Roche's destabilized architecture. The art in Sensorium--which accompanies an exhibition at the MIT List Visual Arts Center--captures the aesthetic attitude of this hybrid moment, when modernist segmentation of the senses is giving way to dramatic multisensory mixes or transpositions. Artwork by each artist appears with an analytical essay by a curator, all of it prefaced by an anchoring essay on "The Mediated Sensorium" by Caroline Jones. In the second half of Sensorium, scholars, scientists, and writers contribute entries to an "Abecedarius of the New Sensorium." These short, playful pieces include Bruno Latour on "Air," Barbara Maria Stafford on "Hedonics," Michel Foucault (from a little-known 1966 radio lecture) on the "Utopian Body," Donna Haraway on "Compoundings," and Neal Stephenson on the "Viral." Sensorium is both forensic and diagnostic, viewing the culture of the technologized body from the inside, by means of contemporary artists' provocations, and from a distance, in essays that situate it historically and intellectually.Copublished with The MIT List Visual Arts Center.

robo-cyborg-interactive-playful-thinking

Pondering how create an participatory intervention/disruption in the hospital space- flying great but poses all sorts of logistical issues. so sensors in the space and wall, floor or ceiling mounted 'creatures' may be the way to go. David Bowen's telepresent work suggests some concepts.


remote infrared drawing device from david bowen on Vimeo.
remote infrared drawing device consists of four individual drawing arms which are installed in a gallery space and are connected to four different infrared sensor arrays. The sensor arrays are mounted in different locations throughout a particular building. The information gathered from the sensor arrays, through people's interaction with them, is sent to each corresponding drawing arm. The drawing arms move in real time based on the information they gather.

www.dwbowen.com


https://vimeo.com/21019580