Technoetic Arts

ISSN: 1477-965X

19 found

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  1.  1
    The Constitution of the Sea: New boundaries and identity through watery, transdisciplinary artistic practice.Kat Austen - 2024 - Technoetic Arts 22 (2):183-196.
    What is it to be the sea? Explorations of the constitution of the sea – what it comprises, where its borders are, how it incorporates novel entities – offer meaningful insights into the nature of boundaries and identity that are as relevant for humans as they are for the imperilled oceans. At the advent of the post-Anthropocene, when global processes perceptibly react to human impacts, this article elaborates on watery artistic investigations inspired by the mutability and permeability of seas. Anchoring (...)
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  2.  2
    Conceptualizing the OneWater: Exploring the plural possibilities of community, saltwater and freshwater.Tracey M. Benson - 2024 - Technoetic Arts 22 (2):267-281.
    The world’s oceans cover more than 70 per cent of the planet’s surface and contain 97 per cent of the water on planet Earth. Saltwater connects with freshwater with the outflow of every river and creek or from the drift of thunderstorms across islands to form new oceans. With a shared theme of water, recent projects are discussed as case studies for their focus on ecosystem awareness, cultural knowledge, arts and science and working collaboratively. Water is an essential element and (...)
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  3. Reflections on sea, listening and sound installations: A conversation with Félix Blume.Félix Blume & Bill Psarras - 2024 - Technoetic Arts 22 (2):209-220.
    Both the sound and the sea are characterized by a constant fluidity and transformation, which has been considered as a creative foundation for expanded sonic practices that identify, capture and experiment with natural elements. The text aims to explore how the idea of sonification as a process of translating qualities and data into sound constitutes the departure point towards contemporary sound practices that encourage deeper listening and immersive experiences. Taking the sea-responsive sound installations of French artist Félix Blume, Rumors from (...)
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  4. Open seas, open systems.Susan Collins - 2024 - Technoetic Arts 22 (2):155-166.
    This article traces the author’s utilization of the sea as both generative device and communications channel, from an early student experiment sending out messages in bottles, and Transporting Skies, an exhibition made in response to the pioneering telegraph communications station at Porthcurno near Newlyn in Cornwall, one of the first places to be ‘on-line’ in a contemporary sense, to the present day. Reflecting on an ongoing series of works employing imagery captured and transmitted by network cameras pixel by pixel in (...)
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  5. How to be with the sea: Artistic practices in the midst of the climate crisis.Daphne Dragona - 2024 - Technoetic Arts 22 (2):253-266.
    At the heart of the ongoing climate crisis is the impact of anthropogenic activity on the oceans and the seas of the planet. The complexity and the scale of planetary changes, though, often feel elusive, or even unintelligible. This article aims to discuss the need to address the particularities and agency of the ocean, specifically exploring the role of art in empowering people to realize their bonds to the planet’s oceans and seas. After discussing the problematics of the long-established separation (...)
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  6. Drifting poetries, floating gestures: Performing with/upon the sea in contemporary media arts.Bill Psarras - 2024 - Technoetic Arts 22 (2):237-251.
    To think of the sea as a page is to consider its liquid surface as a site of writing. The current article explores fluid and performative aspects of the sea in contemporary art practices, which incorporate performance art, poetry and creative media. Based on a critical reflection on coastline and sea-oriented performances of the author and drawing on key ideas that consider the sea as a dynamic milieu of embodied knowledge and expanded creativity beyond western terrestrial bias, the article explores (...)
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  7. Into/Across the sea: Critical perspectives in media arts.Bill Psarras - 2024 - Technoetic Arts 22 (2):151-154.
    The issue delves into and extends across the sea by exploring critical art practices and methodologies at the intersections of performance art, new media and site-specific/installation art, that integrate ocean, waves, currents, tides, coasts, depths, sea objects/vessels or environmental conditions as vital agents of the artwork. It presents nine articles by artists and scholars whose art practice and research engages with performative, embodied, participatory and technological aspects of the sea by integrating processes of drifting, floating, standing, recording, transmitting and mapping, (...)
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  8. Exploring watery sonic imaginaries in the age of the Aquatocene.Robertina Šebjanič - 2024 - Technoetic Arts 22 (2):197-208.
    In this article, I unravel how my artistic research, focusing on the sonic spectrum, can reflect on interspecies perception and communication within the Aquatocene, an era marked by humanity’s deep involvement with aquatic environments. I coined the term Aquatocene to describe the state of waters in the Anthropocene. Through an interdisciplinary blending of art, science and technology, I examine the philosophical and methodological frameworks driving my artistic practice. With projects like Aquatocene and Atlantic Tales, I am to reimagine interspecies relationships (...)
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  9. Becoming Sea-swallowed: Sarah Cameron Sunde’s 36.5 / A Durational Performance with the Sea.Raegan Truax & Sarah Cameron Sunde - 2024 - Technoetic Arts 22 (2):167-182.
    Can shifting to tidal time potentially slow the catastrophic realities of sea-level rise? Sarah Cameron Sunde’s 36.5 / A Durational Performance with the Sea is a site-specific performance during which Sunde stands in a tidal bay for a full cycle as water engulfs her body and then reveals it again. The public participates. What began in 2013 as a poetic impulse has grown into a complex series of nine durational performances involving communities around the world. In this article, durational performance (...)
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  10.  1
    Shoreless.Theodoros Zafeiropoulos - 2024 - Technoetic Arts 22 (2):221-235.
    The article proposes a re-interpretation of the shoreless seascape through a concept the author terms ‘aimlessness’. This concept can function as a hybrid metaphor suitable for investigating the failures of human transcendence. Essentially, every multidisciplinary practice in contemporary artistic, technological and scientific culture is a series of failed geopolitical setbacks. Related actions may well be reversed, interrupted or even recalled at any time with new acquisitions, discoveries or experiments. The understanding of the sea as a theatrical stage can offer spatial (...)
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  11.  15
    Nalo Hopkinson’s Midnight Robber: Blending technology and fantasy in a dystopian narrative.Sana Altaf & Aqib Javid Parry - 2024 - Technoetic Arts 22 (1):133-144.
    In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the (...)
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  12.  14
    Paradox, cybernetics and infinite poetry.Kate Doyle - 2024 - Technoetic Arts 22 (1):25-38.
    How can absence make presence become? The question turns a usual notion of form inside out; it subverts normative habits in drawing distinctions. If we adapt the models of time by which we might consider such things (and not-things), the relational terms of form can shift. Two lines of inquiry are pursued in this article. The first is an investigation of form and its relation to time. The second is an exploration of paradox in describing forms of art. Both are (...)
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  13.  15
    Embodied performance with digital visual effects technology: Empirical results of a digital acting programme.Nicolaas H. Jacobs, Marth Munro & Chris Broodryk - 2024 - Technoetic Arts 22 (1):75-96.
    The impact of digital media and technology on performance arts is evident when digital visual effects (VFX) filming techniques are introduced on a film set. Digital technologies influence the film actor’s approach to be congruent to and authentic within the circumstances of the scene. Actors require an effective skillset and strategies to successfully deliver an embodied performance aligning with the various digital VFX techniques. Focusing on imagination, action and emotion that would facilitate such an embodied performance, we drew on relevant (...)
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  14.  14
    The digital turn in Chhau dance of Purulia: Reconfiguring authenticity in a post-pandemic scenario.Rahul Mahata & Doreswamy - 2024 - Technoetic Arts 22 (1):115-132.
    The article explores the digital innovations that are being used in a folk performance in West Bengal, namely the Chhau dance. The COVID-19 pandemic foregrounded the relevance of digital space across disciplines. Being an expression of the collective experience of the people of the Purulia district, Chhau dance is commonly associated with fostering and perpetuating folk and mythical beliefs through its extensive use of masks and dance movements steered by the Jhumur songs. While the common urge to archive the traditional (...)
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  15.  7
    Taming the Forest: Embracing the complexity of art-sci research through microhistory, bioeconomics and intermedia art.Nikita Peresin Meden, Kristina Pranjić & Peter Purg - 2024 - Technoetic Arts 22 (1):57-73.
    An ongoing collaborative project between art and science, Taming the Forest (2022) was implemented by a team of students, artists and researchers charting an interdisciplinary project among bioeconomics, environmental history, policy and artistic practice. In this article, the project acts as a case study for researching the conflicting narratives of history and economics about biodiversity in general, and specifically about forests. It shows how different blends of methodologies in artistic-cum-scientific research can become relevant for both realms, opening new creative pathways (...)
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  16.  11
    Orders of change: Mary Catherine Bateson on ecological thinking, narrative practices and attending to worlds in transformation.Dulmini Perera - 2024 - Technoetic Arts 22 (1):9-24.
    The gap between the limited human sense of how living entities change over time and the ways in which living systems change is one of the most potent uncertainties in ecological knowledge. This gap remains a significant source of problems and errors for those working with the transformations of living systems. This article foregrounds Mary Catherine Bateson’s cybernetic practice of working with narratives in order to cultivate better understanding and responses to change, at the level of both societies and individuals. (...)
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  17.  9
    Facing, mirroring and echoing in human–avatar symbiosis.Semi Ryu - 2024 - Technoetic Arts 22 (1):97-114.
    Since 2016, my embodied avatar performance (EAP) has explored healing rituals and life review at the intersection of arts, health and virtual reality (VR) for a variety of individuals, including older adults and cancer patients. EAP established a format in which the avatar mirrors the participant’s behaviours and speech, facing them during the life review process. The aspect of mirroring and facing is crucial in EAP for facilitating engagement, embodiment and empathy and a symbiotic relationship between avatar and human. This (...)
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  18.  16
    Blood, sweat and tears: Kinning otherwise through art.Nora S. Vaage & Merete Lie - 2024 - Technoetic Arts 22 (1):39-55.
    The article discusses two bioart projects that bring the symbolically core human substances of blood, sweat and tears into technologically mediated relationships with plants and fungi to explore human kinship with other species: Tarah Rhoda’s BS&T (short for ‘blood, sweat and tears’) and OurGlass, and Saša Spačal’s MycoMythologies: Patterning. The article analyses the art projects through the lens of the molecular gaze and different perspectives on kinning, bringing anthropological conceptualizations of kinship together with Haraway’s pathways to connect with other species. (...)
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  19. Editorial: Rethinking research with methodologies of art practice.Claudia Westermann - 2024 - Technoetic Arts 22 (1):3-7.
    This issue of Technoetic Arts: A Journal of Speculative Research (TA) encompasses eight articles by artists and scholars from around the globe who engage with methodologies of art practice within research that reflects on technological and ecological change, contributing to the discourse on the inclusion of subjective experience in research. The articles by authors Dulmini Perera, Kate Doyle, Nora S. Vaage, Merete Lie, Nikita Peresin Meden, Kristina Pranjić, Peter Purg, Nicolaas H. Jacobs, Marth Munro, Chris Broodryk, Semi Ryu, Rahul Mahata, (...)
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