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Friday, October 4, 2013
Jean Blanchard
Jean Blanchard (1753-1809) designed a hydrogen balloon with flapping devices to control its flight.
more here
more here
Monday, September 16, 2013
Kathrine Elizabeth Anker The Sense of Being Moved
'I see the space of installation art, based on new technology and science, as a possible laboratory or the speculative 'mind', to which such investigations could be successfully related. I find that contemporary installation artworks can-if successful-induce an activation of processes intrinsic to the bodymind, which can bring forward new imaginations, new metaphors and extended self-understandings' (Anker, 2010 p.167)
Ref from JP
So could this be related to wellbeing? Or emergent creativity through technology?
Wednesday, September 4, 2013
disruption, emergence and creativity. Post confirmation thinking
"We live in a world where everything seems possible and as a consequence have lost the sense of wonder" Lukic (2011) #urbanIxD #PhD http://urbanixd.eu/
Monday, July 1, 2013
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
‘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
Thursday, May 30, 2013
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.
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.
Monday, May 13, 2013
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/.
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)
"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)
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