One can use mathematics not as an instrument or measure, or a replacement for God, but as a poetic articulation, or perhaps as a stammered experimental approach to cultural dynamics. I choose to start with the simplest symbolic substances that respect the lifeworld’s continuous dynamism, temporality, boundless morphogenesis, superposability, continuity, density and value, and yet are independent of measure, metric, counting, finitude, formal logic, syntax, grammar, digitality and computability – in short, free of the formal structures that would put a (...) cage over all of the lifeworld. I call these substances topological media. This article introduces elementary topological concepts with which we can articulate material and cultural change using notions of proximity, limit, and change, without recourse to number or metric. The motivation is that topology furnishes us with concepts well-adapted for poietically articulating the world as stuff, rather than objects with an a priori schema. With care, it may provide a fruitful approach to morphogenesis and cultural dynamics that is neither reductive nor anthropocentric. I will not pretend any systematic application of the scaffolding concepts introduced in this article. Instead, I would see what fellow students of cultural dynamics and cosmopolitics make of these concepts in their own work. (shrink)

A groundbreaking conception of interactive media, inspired by continuity, field, and process, with fresh implications for art, computer science, and philosophy of technology.

In this essay we explore extensive modes of enactive engagement among humans, physical and computational media richer than the modes represented by classical notions of interaction and relation. We make use of a radically material and a potential-theoretic account of event to re-conceive ad hoc, non-pre-schematized activity in responsive environments. We can regard such activity as sense-making via dehomogenization of material that co-articulates subjects and objects.

The TGarden is a genre of responsive environment in which actor–spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, (...) or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty. (shrink)

About 20 years ago, the ecology of media art practices proliferated in two domains: those that attached themselves to high technology labs or companies like Xerox PARC, and those that took advantage of personal computing to form collectives only loosely coupled to academic institutions or disciplines. In this essay, I closely examine the diverse epistemic cultures and diverse technical, political, and generational interests in such “cyber-anarchist” networks. I sketch the economy of knowledge in recent media arts and technology communities of (...) practice in the wake of Open Source. I use as my lens the experience of creating a responsive media space called the TGarden, with a collective that gathered more than 26 artists and engineers from 11 institutions and 7 nations. (shrink)