Photographic documentation of Anotações Sonoras: Espaço, Pausa, Repetição at at-c.org. Video is on the way.
Luís Ribeiro visited Anotações Sonoras: Espaço, Pausa, Repetição and wrote about it for Arte Capital.
(…) A sala de exposições é um corpo que pode ser habitado mas é, na mesma medida, um corpo vivido pela obra de arte e pelo público que a visita, transformando o vazio num corpo habitado e cheio de vida. Neste sentido, o corpo assume-se como potência que incorpora a obra de arte, passando a existir apenas no íntimo de cada ser que a visita.
Computational artworks develop very particular relationships with their readers. Being able to encode and enact complex and contingent behaviours, a computational artwork exists in a dual state between two layers that are inextricably connected, a computational subface that is often a black box which can only be peeked at through an analogue surface, that mediates but also isolates it. But the procedural layer of the subface can be unearthed through a process of virtuosic interpretation, through which readers are able to develop some empathy with the system and arrive at a theory of the system that ultimately allows the transferring of some of the artwork’s processes to human minds. This paper focuses on how this process is developed and how it is the basis for a unique type of aesthetic experience that leads computational media and art to involve readers in anamorphosis and in a dialectics of aporia and epiphany, that mirrors the superimposition of subface and surface, and from where narrative experiences emerge.
In this paper we will argue that artistic creations made by artificial minds will most likely lay beyond our ability to understand them. We will assume that the emergence of consciousness in artificial minds is possible and that the artistic creations we are referring to are made by the artificial minds’ own volition. We will build upon the definition of art as embodied meaning and explore its relationship with embodied cognition to argue that there is a binding of human artistic creation to the subjective experience of existing in a natural and cultural world through a human body that is born with a foretold death. Additionally, we will try to show that the best we can aim at, as human beings standing by an artistic creation by another species, is to an understanding of what could have motivated another human being to create such a work. As such, we shouldn’t be able to understand an artistic creation originating by an artificial mind with a physical experience of the world that differs from our own, even if they have a privileged access to our culture. The boundaries for this incomprehension are those of the human mind.
Serendipity is increasingly becoming a concern in the design of interactive systems as an alternative to the echo chamber effects being felt in the medium. However, the concept of serendipity is one shrouded in ambiguity, which limits our abilities to regard it as an The achievable Serendipitous goal in interaction Pattern. Based in literature review, as well as empirical research, we propose a Serendipitous Pattern that identifies the core moments of serendipity, as well as the role of the human agent. Through this pattern, we are able to lay the groundwork for establishing a framework that enables the design of serendipitous systems.