[Yasmin_discussions] art and climate change

from
david mcconville

The embedded hyperlinks didn't survive the listserv. Inserted below: Roger,
Thank you for your refreshing perspective on the role of artworks in =20
making sensual ecological interactions that are normally =20 imperceptible.
It will be interesting to gauge the pragmatic/pedagogic =20= utility of
"climate art" compared to works that are drawing attention =20= to
related ecological urgencies - such as Chris Jordan's (1) =20 photographic
gestalts illuminating the scale and impact of consumer =20 detritus or the
Newton & Helen Mayer Harrison's () conceptual =20 installation work (2)
with geospatial imagery (that have purportedly =20 diverted billions of
dollars from ecologically devastating projects). I've found it exceedingly
difficult to "visualize" climate data in a =20 way that
communicates its relations to human activity in a =20 satisfactory (that is
to say, an intimate, let alone communicative) =20 way using geospatial
tools. Contextualization of these relationships =20 is made difficult by the
current generation of geospatial browsers =20 since they primarily afford
largely static representations of dynamic =20= metabolic flows. I'd be very
interested to hear of any works using =20 real-time geospatial visualization
that compellingly present dynamic =20 phenomena. On a related note, I
briefly address the need for an increased =20 intimacy in order to mobilize
groups to interactively explore the =20 connections between ecological and
humanitarian issues in a recent NY =20= Times' blog post: Going Beyond
Finding Your Roof on Google Earth (3). =20= The reporter, Andy Revkin, is
particularly interested in the points =20 you raise in your essay, as can be
seen with Climate as Art: What's =20 Your Review (4)? (1)
http://www.chrisjordan.com (2) http://www.theharrisonstudio.net (3) =
http://dotearth.blogs.nytimes.com/2009/10/27/going-beyond-finding-your-roo=
f-on-google-earth/<http://dotearth.blogs.nytimes.com/2009/10/27/going-beyond-finding-your-roo=f-on-google-earth/>(4)
= http://dotearth.blogs.nytimes.com/2009/09/14/vote-on-climate-art-beyond-em=
bers/<http://dotearth.blogs.nytimes.com/2009/09/14/vote-on-climate-art-beyond-em=bers/>---
david mcconville director, noospheric research division
http://www.elumenati.com &gt; &gt; On Oct 31, 2009, at 9:18 AM, roger malina
wrote: &gt; &gt;&gt; Yasminers &gt;&gt; &gt;&gt; I just submitted a text
RETHINKING CLIMATE ART AS INTIMATE SCIENCE &gt;&gt; &gt;&gt; =
http://www.scribd.com/doc/21958357/Rethinking-Art-Art-as-Intimate-Science
&gt;&gt<http://www.scribd.com/doc/21958357/Rethinking-Art-Art-as-Intimate-Science&gt;&gt>;
&gt;&gt; for the debates at the RETHINK events that are targed the political
=20= &gt;&gt; meetings &gt;&gt; in &gt;&gt; Copenhagen &gt;&gt; &gt;&gt; We
are at an important time for the political decisions enabling us &gt;&gt; to
confront the realities of climate change=3D artists are on the =20 &gt;&gt;
front line ! &gt;&gt; &gt;&gt; it would be appropriate for us to use YASMIN
also to discuss the =20 &gt;&gt; issues&gt; &gt;&gt; I encourage you to
contribute to the RETHINK ART debates at &gt;&gt; &gt;&gt;
http://www.rethinkclimate.org/
&gt;&gt <http://www.rethinkclimate.org/&gt;&gt>; &gt;&gt; &gt;&gt; &gt;&gt;
&gt;&gt; Roger &gt;&gt; &gt;&gt; About =93RETHINK =96 Contemporary Art and
Climate Change=94 &gt;&gt; *http://www.rethinkclimate.org/*
&gt;&gt<http://www.rethinkclimate.org/*&gt;&gt>;
&gt;&gt; RETHINK =96 Contemporary Art and Climate Change consist of web =20
&gt;&gt; debates, film &gt;&gt; programs, and an art exhibition. It is made
in a unique collaboration &gt;&gt; between the National Gallery of Denmark (
www.smk.dk), Den Frie =20 &gt;&gt; Centre of &gt;&gt; Contemporary Art (
www.denfrie.dk), Nikolaj Copenhagen Contemporary =20= &gt;&gt; Art &gt;&gt;
Center (www.kunsthallennikolaj.dk), and the Alexandra Institute ( &gt;&gt;
www.alexandra.dk). The exhibition will be shown in Copenhagen at =20
&gt;&gt; these three &gt;&gt; venues from October 31st 2009, and will
coincide with the United =20 &gt;&gt; Nations=92 &gt;&gt; COP15 climate
conference in Copenhagen in December. &gt;&gt; &gt;&gt; The curatorial
ambition of the project is to give the public a new &gt;&gt; perspective on
climate and environment through contemporary art. The &gt;&gt; exhibition
consists of 30 art works by international artists that in &gt;&gt; different
ways investigates abstract climate issues. Among the =20 &gt;&gt; artists
are: &gt;&gt; Tomas Saraceno (AR), Henrik H=E5kansson (SE), The Icelandic
Love =20 &gt;&gt; Corporation &gt;&gt; (IS), Superflex (DK), Eke Ugochukwu
Bright (NI), Olafur Eliasson =20 &gt;&gt; (IS/DK). &gt;&gt; &gt;&gt; *
&gt;&gt; * &gt;&gt; &gt;&gt; Nordic Exhibition of the Year &gt;&gt; &gt;&gt;
=93RETHINK =96 Contemporary Art and Climat
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[Yasmin_discussions] The Arts in the Context of Darwinian Theory of Evolution Today

Ramon

thanks for your thoughts on the colloquium in Marseille. Here are my
own thoughts

Roger

Some Reflections from the on the recent Colloqium

" The Arts in the Context of the Darwinian Theory of Evolution"

In Marseille

http://www.imera.fr/index.php/en/rss-feed/110-22-octobre-colloque-qart-culture-theorie-de-levolutionq.html

We had three days of rich presentations and discussions on the theory of
evolution, neurobiology and the arts and culture. We might inscribe the days
under the comment made by speaker Jacques Arnould: quoting Socrates who
apocryphally transformed the motto written on the temple in Delphi from "
Know yourself, leave the world to the gods" to " Know yourself and you will
know the universe and the gods" as the nub of the debate. Arnould taunted
our keynote speaker neuro-biologist J.P Changeux with the search for
"neuro-theology"; can one from understanding neurons derive human culture
and behaviour in its most general manifestations. Evolutionary theory, 150
years after the publication of "The Orgin of the Species" is still a hot
social and philosophical issue.

The three days created a true polyphony of perspectives from researchers and
artists, including neurobiologists, physiologists, anthropologists, literary
theorists, ethologists and archeologists and artists from play writers to
painters to new media artists.

A number of debate topics emerged, unresolved, they would warrant many
further seminars:

1) The search for invariants, universals. A basic approach in science
which is perhaps at odds with the search for creativity. The search for
universals in art interests scientists but not art theorists today.

2) The debate on reductionism. Can one from understanding neuronal
processes derive cognition and on to higher level processes such as
consciousness. This is of course the hard problem in the science of
consciousness, whether the bottom up and the top down approaches meet.
Neurobiologist Viond Dury articulated the shifting evidence and difficulties
in building a consistent story. Neuriobiologists study on the sub-second
scale, how to extrapolate to "culture' that evolves over decades.

3) The debate on what makes human different from other primates, or
rather viewing humans as part of a smooth continuity with other forms of
live. Is there a "rupture" in kind between humans and other forms of life.
If we count genes, humans are close cousins to earth worms. If we count
neuronal connections, the human has a very much higher level of complexity.
Ethologist Dominique Lestel took Changeux to task for always trying to
isolate humans as different in kind.

4) Our ontologies and taxonomies, and the inevitable "hierarchies" they
create in concept. Do our taxonomies make us blind to fundamental questions.
Louis Bec gave a great "performance" illustrated with the art-taxonomy
system he has created and his imaginary life forms.

5) Homo-centrism. The incredible variety of life forms on our planet,
both know and over the past few billion years. But our, understandable,
myopic focus on understanding human evolution. Ramon Guardans argued
forcefully for looking at the evolution of plants as a much richer source of
how life adapts to changing conditions.

6) Understandably we understand far better the cognition and
neurobiology of vision that we do of other senses, or other modes of
perception and cognition. Many of the artists present were uncomfortable
with the scientists focus on painting to the exclusion of the whole variety
of artforms, particularly interactive media and other experimental arts. The
whole body as sentient vs the sum of the senses.

7) The concept of the brain as an "input output" device and the use of
information processing theories, communication theory. Versus the view of
the brain as a "projection creating system' which interacts with the outer
world via the senses, in cybernetic cycles that allows the brain to settle
on 'consensual' realities. The misuse of information theory.

8) The debate on subject/object, and whether the individual experience
can ever be scientifically mapped; the problem of enaction and its
specifity. Changeux argued that there were objective correlates of
subjective experience. Martin Timsit talked about how the act of "averaging'
to obtain scientifically stable categories inevitably discards the
"outliers' and unique examples which are perhaps where artistic creativity
resides. The role of the anecdotal or rare examples ( the chimp that can tie
knots).

9) Is aesthetic experience isolatable as a specific experience. Natural
beauty versus beauty in artifacts; is there a neuronal difference ? Is
aesthetic experience a stable category ( cf an experience such as hunger).

10) The idea of progress still lurking. Changeux stated that science
progresses, art doesn't: it re'invents itself in each period. "trees" of
life. There are dead branches in evolution that can be reviced, but not in
art ? Impressionism makes sense as a response in 1900 not 2000. What metric
to use ? Complexity ? Suvival robustness?

The colloquium failed to resolve the key question whether there is strong
scientific evidence on how 'the arts and culture' have developed in an
evolutionary picture. Has evolution selected individuals or groups; does art
and culture create an evolutionary advantage in human societies. Changeux
took the optimistic position that they do ( with ethics and truth-seeking)
and indeed are survival traits in the centuries ahead.

It was an intense few days. We will be meeting in Marseille in a couple of
weeks to debrief and brainstorm next steps. Two strands on evolution and the
arts, and on neuro-aesthetics. A book. Maybe another symposium next year.
If you are interested in being involved contact me at rmalina(at)
alum.mit.edu

Roger
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[Yasmin_discussions] The Arts in the Context of Darwinian Theory of Evolution Today

neuro arts in Cuba

--------------------
Subject: Neuroartes en Cuba

Nuevas actividades.

http://www.facebook.com/l/0e94f;www.neuroartes.org/NeuroartesCuba.html

*Cuba**

Noticias Octubre 2009.

En el marco de las actividades del Segundo Congreso de
Humanidades Medicas y Ciencias Socio-médicas, celebrado en el
mes de junio del 2009 en Cuba, en la Universidad de Ciencias
Medicas de Las Tunas, provincia al oriente del país, se creó el
grupo de **Neuro**artes, integrado por un colectivo de doctores en
neurofisiología, neurocirugía, oftalmología, oncología, psicología,
filosofía, y estudiantes de medicina así como profesionales de la
cultura, músicos, entre otros, en el marco de la colaboración con el
Instituto de **Neuro**artes fundado por Luc Delannoy.

El grupo de **Neuro**artes fundado en Cuba, pertenece al proyecto
FiloArtMed, un proyecto de filosofía, arte y medicina, que se
desarrolla en esta universidad, dirigido por la profesora María Elena
de Prada Justel, e integrado por profesionales de la salud, la cultura
y estudiantes de medicina.

Este nuevo proyecto incluye actividades con las medicinas
tradicionales, yoga, aikidoterapía, medicina tibetana entre otras,
como muestra de la relación de la filosofía de la medicina occidental
y de las medicinas tradicionales asiáticas, entre otras, como parte
de la comprensión de la medicina como arte y ciencia, y de la unión
del humanismo con la ciencia. El proyecto toma en cuenta la
epistemología de segundo orden y el enfoque holístico de la
persona, así como el giro estético de la epistemología - véanse los
cursos de introducción a **Neuro**artes-.

En el mes de octubre de 2009, el proyecto participo en el congreso
internacional de juventudes científicas en México, como parte de
una invitación de la Federación Internacional de Sociedades
Científicas, a través de dos conferencias magistrales del fundador
del programa de **Neuro**artes, Luc Delannoy y de la profesora María
Elena de Prada, además de presentar talleres post-congreso con
diversas temáticas sobre este asunto. En el marco de este congreso
también se realizaron actividades de intercambio académico entre la
directora del proyecto FiloArtMed de la Universidad medica de Las
Tunas, y el Instituto de **Neuro**artes, de Luc Delannoy, así como de la
Federación, que propuso la creación de la red de científicos
estudiantes en Cuba, con los integrantes de este proyecto.

En los próximos meses y en el marco de estos intercambios se
celebraran en Cuba actividades del Instituto de **Neuro**artes.

*
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[Yasmin_discussions] IMERA_MIM_22-25Oct09_Aix_Marseille

Greetings Yasminers

A few notes and coments on the meeting orgnized by Imera and MIM in Aix and Marseille. To start with the basics, the meeting was well organized, well run and well attended: the responsible people be praised!.

The first day in Aix opened with two presentations by J.P Changeux and J. Vion-Dury that showed some of the potential of neurobiology to describe activity in the brain. Some good points about backgorund and signal and how at some point one could "detect" brain activity outside the box, that is outside the cranium. Interesting , intriguing and medically productive as these views are I would like to note that they work on a very short timeframe (in the order of a few seconds) wile it is quite obvious for anyone who tries to think about thinking that relevant patterns develop and unfold over much larger time frames and are not "seen", this does not disqualify shor term shots but limits its use to describe what learning or having fun is all about it usualy takes a little more than 1 sec

J. Arnould came up with a magnificent quote, surprisingly unheard off were Kepler writes to Galileo about how they should devide the task of mapping the cosmos for future travel, he suggets Galileo takes Jupiter and he, Kepler will do the Moon.

J Gagnepain gave a clear and instructive overview of the development of ideas about change in the living world and in the human group. It touched upon one of the central points in this debate, the philosophical and political dimension that the description of change has had in history. He described how several explorers, naturalists and authors form the late 16th on constructed ideas and pressented relevant data to the understanding of change, it was not one man thing, it has moved on since 150 years ago.

This brings us to a point that has agitated me through the meeting and that I think we should clarify if the discussion is to carry on in a productive way.

There are two streams of work that can be placed under the title of this conference, the exploration of how when and why the term and bundle concepts "darwinian evolution" came about and why it is still used today. A political , philosophical and literary endeavour triying to understand how 19th century texts and debates have been made to seem relevant today (we could also discuss a la façon de JL Borges , Pasteurism, Copernicanism and other monstrosities that fortunately do not exist). The other stream, of quite unrelated and extreemely interesting work is the very active feild of contemporary scientific research where short term and long term change in living processes is being investigated. What is confusing is to prentend that contemporary biology of change is made according to 19th century concepts or conversely that 19th century naturalists somehow predicted contemporary biology.

Three artists presented their work I.Massu working with J.Gagnepain in a museum of prehistory who has created multimedia displays stimulating thought on the museum point of view and frame of refference. Chu-Yin Chen presented ellaborate digital automata working in groups where forms of "quorum sensing" operate and shape the outcome.

JL Bec gave a delightful talk on his work inventing forms of life and ways to call them, and in the process he recreates, ironizes, anlayzes in detail and with lucidity the workings of life, art and science

The next two days were in Marseillle and included talks on literary (C.Perez on dreams in cats and cows) , musical , mathematical (JP Allouche) understandings of perception and learning.

P.Mounoud described the suggestive parallelism between the steps a infant goes trough to recognize a face, according to Piaget (with whom he had worked) and the comments by Giacometti during the 18 sessions it took to complete a portrait of someone who was taking notes and pictures of how the work grew and wrote a book.

JL Leroy introduced a flurry of interesting concepts to think about the musical process as dynamic , transient and social. Music as a thinking tool and trace of historical cooperation

J.C Risset brought witness of how paradoxes and digital syntheis of sound had shaped current thinking about music production and perception

The last day took place in an industrial skeletton recolonized by theaters and workshops (la Friche de Belle de Mer) there was a discussion on stage lead by C.Tron and we could hear a remasterized piece from JCRisset and other things from the 1970s and later.

In sum I had a good time and many substantial inputs, if we are to continue with this i would strongly suggest to focus on current info about biology and how change , metabolic, neural, populational comes about as the result of diferential reproduction of modular units that reproduce with some variability in multiple environments, how paleontologists, botanists, biogeochemists , bio informaticians , and yes also zoologists, ethologists, sociologits and political scientists look at, obtain evidence from and describe change.

The darwinian therory of evolution was a precursor and some concepts in it are still used, most of it is fossil, the study of change in life is not a cult to darwin or against or a matter of faith, its the result of sifting evidence and building meaningful representations able to account for the facts with the basic conviction that our knowledge is and can oly be limited, and can be tested.

thank you again to orgaizers and to you if you read..
be well
r

Re: [Yasmin_discussions] Oral Traditions and New Media

Dear Yasminers,

Now that we are on transition from the "Art and Darwin" to the "Oral
Traditions and New Media" discussions, I'd like to bring up this (old)
Virtual Reality project. It would be great to port it into Second
Life! Anyone interested?

Watch video at:
http://galeriavirtual.org/babble.ogg

Babble: The Virtual Tower of Babel
by
M. Serra, N. Parés & R. Parés
produced by: Galeria Virtual
Barcelona, 1995-96.
Project Funded by the Audiovisual University Institute, Universitat
Pompeu Fabra.

Babble is a Virtual Reality experience which takes advantage of the
new technological channels to revive the debate around the babelic
myth. Babble is a Ceremony of Confusion. The oral intervention of each
transient distorts the virtual environment in real time. The Tower
grows with each new contribution in its arrogant goal of reaching the
ultimate sense. If a voice recognition system incorporated in Babble
detects a remarkable phonetic similarity between the transients and
the artificers message, an apocalyptic ceremony of destruction will
start.

Online docuemntation at:
http://galeriavirtual.org/pagines/babble/babble_a.htm

Related:
(Poster session) Babble The Virtual tower of Babel (Marius Serra, Roc
Pares, Narcis Pares) ISEA96
Artefact:
(Book of Abstracts) ISEA96 Book of Abstracts including Final Program
The Seventh International Symposium on Electronic Art.

--
Roc Parés i Burguès (PhD)
Universitat Pompeu Fabra
Departament de Comunicació / Àrea de Comunicació Interactiva
Edifici Roc Boronat (Campus de la Comunicació-Poblenou)
Despatx 52803
Roc Boronat, 138
08018 Barcelona
http://www.iua.upf.edu/~rpares/

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Re: [Yasmin_discussions] Oral Traditions and New Media

Yasminers: Oral tradition is a strong custom for trasmitting Sacred Knowledge in Yezidi Community Ismail Beg Chol Amir (Prince) of Yezidis asked to a German reporter when answered him about the Holy  Knowledge " The transmitting is hearth to hearth and my son will transmit that to their sons and daughters". So, it was in 1929.
Now the Yezidi Community is highly develop in the Web, and some video clips very goods
you may see it at www.Lalish.com or put in the searcher Êzidi Comunity.
Regards
                   ricardo gustavo espeja

--- On Wed, 10/28/09, Vítor Reia-Baptista <vreia@ualg.pt> wrote:

From: Vítor Reia-Baptista <vreia@ualg.pt>
Subject: Re: [Yasmin_discussions] Oral Traditions and New Media
To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>, "roger malina" <rmalina@alum.mit.edu>
Cc: Myriam@estia.media.uoa.gr, "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>, "Hammani" <mhammani@hotmail.com>
Date: Wednesday, October 28, 2009, 2:22 PM

Hi Myriam and Roger.
This could be a very good idea, to try to know what kind of connections are being established between Oral Traditions of different sort and New Media. I am also specially interested in the possible filmic representations of those connections and who knows if we are able to find some kind of mediterranean pattern around those representations..., it would be really interesting.
Best wishes.
Vítor Reia
(University of Algarve, Portugal)

Citando roger malina <rmalina@alum.mit.edu>:

> Myriam
>
> good to ear about your workshop in Algiers ! can you tell us more
> about it- our art and darwin discussion is ending so it would be great
> to start discussing oral traditions and new media !!
>
> roger
>
> -Hi Yasminers...
>
> This is Myriam Hammani
>
> I would like to open the topic on the subject of making art on second life
> and the workshop I gave at the ecole des beaux arts of Algiers in May with
> Wafa Bourkis...I wwould liek to talk about the experience...and it is very
> interesting...also the politics behind making art and perpetuating  oral
> tradition in the new media world...with video and with second life and with
> interactive electronic installations.
> Please let me know when and if you are intereted in this subject...
> i m very much into Oral tradition and it s manifestation on film and new
> mediums of expression...
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Re: [Yasmin_discussions] Oral Traditions and New Media

Good evening Roger, The project was taken up on the Marquesas Islands on Second Life, but regrettably the owner needed the space for a project with the Saudis, I'd posted 3 videos concerning this project on my page FaceBook Le project had a relation with a problem of the méditerranean sea: the noise pollution which has negative effects on the life of dolphins
Thanks for you interest

--- En date de : Mer 28.10.09, Vítor Reia-Baptista <vreia@ualg.pt> a écrit :

De: Vítor Reia-Baptista <vreia@ualg.pt>
Objet: Re: [Yasmin_discussions] Oral Traditions and New Media
À: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>, "roger malina" <rmalina@alum.mit.edu>
Cc: Myriam@estia.media.uoa.gr, "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>, "Hammani" <mhammani@hotmail.com>
Date: Mercredi 28 Octobre 2009, 22h22

Hi Myriam and Roger.
This could be a very good idea, to try to know what kind of connections are being established between Oral Traditions of different sort and New Media. I am also specially interested in the possible filmic representations of those connections and who knows if we are able to find some kind of mediterranean pattern around those representations..., it would be really interesting.
Best wishes.
Vítor Reia
(University of Algarve, Portugal)

Citando roger malina <rmalina@alum.mit.edu>:

> Myriam
>
> good to ear about your workshop in Algiers ! can you tell us more
> about it- our art and darwin discussion is ending so it would be great
> to start discussing oral traditions and new media !!
>
> roger
>
> -Hi Yasminers...
>
> This is Myriam Hammani
>
> I would like to open the topic on the subject of making art on second life
> and the workshop I gave at the ecole des beaux arts of Algiers in May with
> Wafa Bourkis...I wwould liek to talk about the experience...and it is very
> interesting...also the politics behind making art and perpetuating  oral
> tradition in the new media world...with video and with second life and with
> interactive electronic installations.
> Please let me know when and if you are intereted in this subject...
> i m very much into Oral tradition and it s manifestation on film and new
> mediums of expression...
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>
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>
>

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Re: [Yasmin_discussions] Oral Traditions and New Media

Hi Myriam and Roger.
This could be a very good idea, to try to know what kind of
connections are being established between Oral Traditions of different
sort and New Media. I am also specially interested in the possible
filmic representations of those connections and who knows if we are
able to find some kind of mediterranean pattern around those
representations..., it would be really interesting.
Best wishes.
Vítor Reia
(University of Algarve, Portugal)

Citando roger malina <rmalina@alum.mit.edu>:

> Myriam
>
> good to ear about your workshop in Algiers ! can you tell us more
> about it- our art and darwin discussion is ending so it would be great
> to start discussing oral traditions and new media !!
>
> roger
>
> -Hi Yasminers...
>
> This is Myriam Hammani
>
> I would like to open the topic on the subject of making art on second life
> and the workshop I gave at the ecole des beaux arts of Algiers in May with
> Wafa Bourkis...I wwould liek to talk about the experience...and it is very
> interesting...also the politics behind making art and perpetuating oral
> tradition in the new media world...with video and with second life and with
> interactive electronic installations.
> Please let me know when and if you are intereted in this subject...
> i m very much into Oral tradition and it s manifestation on film and new
> mediums of expression...
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to
> subscribe to. In the page that will appear ("info page"), enter
> e-mail address, name, and password in the fields found further down
> the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
> enter your e-mail address in the last field. Enter password if
> asked. Click on the unsubscribe button on the page that will appear
> ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
> "Set Digest Mode" option and set it to either on or off.
>
>

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[Yasmin_discussions] The Arts in the Context of Darwinian Theory of Evolution Today

1. Last Call For Papers: EvoMUSART 2010 - 8th European Event on
Evolutionary
and Biologically Inspired Music, Sound, Art and Design

----------------------------------------------------------------------

Date: Mon, 26 Oct 2009 10:24:39 -0700
From: Penousal Machado <evomusart@YAHOO.COM>
Subject: Last Call For Papers: EvoMUSART 2010 - 8th European Event on
Evolutionary and Biologically Inspired Music, Sound, Art and Design

EvoMUSART 2010=0A=0A8th European Event on Evolutionary and Biologically Ins=
pired Music, Sound, Art and Design=0A=0A7-9 April, 2010, Istanbul, Turkey=
=0A=0A=0Ahttp://www.evostar.org=0A=0A--------------------------------------=
--------------------------------=0AINTRODUCTION=0A-------------------------=
---------------------------------------------=0A=0AEvoMUSART 2010 is the ei=
ghth European Event on Evolutionary and Biologically Inspired Music, Sound,=
Art and Design. Following the success of previous editions and the growth =
of interest in the field, the main goal of EvoMUSART 2010 is to bring toget=
her researchers who are using biologically inspired techniques for artistic=
tasks, providing the opportunity to promote, present and discuss ongoing w=
ork in this area.=0A=0AEvoMUSART 2010 will be held from 7-9 April, 2010 in =
Istanbul, Turkey as part of the European Conference on the Applications of =
Evolutionary Computation, EvoApplications 2010.=0A=0AAccepted papers will b=
e presented orally at the conference and included in the EvoApplications pr=
oceedings, published by Springer Verlag in the Lecture Notes in Computer Sc=
ience series.=0A=0A=0AEvoMUSART 2010 important dates are:=0A=0ASubmission d=
eadline: November 4, 2009=0AConference: 7-9 April, 2010=0A=0A=0A-----------=
-----------------------------------------------------------=0ATOPICS OF INT=
EREST=0A-------------------------------------------------------------------=
---=0A=0AThe papers should concern the use of bio-inspired techniques (Evol=
utionary Computation, Artificial Life, Artificial Neural Networks, Swarm I=
ntelligence, etc.) in the scope of the generation, analysis and interpretat=
ion of art, music, design, architecture and other artistic fields. Topics o=
f interest include, but are not limited to:=0A=0A- Generation=0A o Biolo=
gically Inspired Design and Art-Making Systems that create drawings, images=
, animations, sculptures, poetry, text, objects, designs, webpages, buildin=
gs, etc.;=0A o Biologically Inspired Sound-Generators and Music-Systems =
that create music, aggregate sound, or simulate instruments, voices, effect=
s, etc; =0A o Robotic Based Evolutionary Art and Music;=0A o Other re=
lated generative techniques;=0A- Theory=0A o Computational Aesthetics, E=
motional Response, Surprise, Novelty;=0A o Representation techniques;=0A=
o Comparative analysis and classification;=0A o Validation methodolo=
gies;=0A o New biologically inspired computation models in art, music an=
d design;=0A- Computer Aided Creativity=0A o New ways of integrating use=
rs into evolutionary computation art and music frameworks;=0A o Analysis=
and evaluation of: the artistic potential of biologically inspired art and=
music; the artistic processes inherent to these approaches; the resulting =
artifacts;=0A o Collaborative distributed artificial art environments;=
=0A- Automation=0A o Techniques for automated fitness assignment;=0A =
o Systems that exploit biologically inspired computation to analyze artisti=
c objects and artifacts;=0A=0A---------------------------------------------=
-------------------------=0AADDITIONAL INFORMATION AND SUBMISSION DETAILS=
=0A----------------------------------------------------------------------=
=0A=0ASubmit your manuscript, at most 10 A4 pages long, in Springer LNCS fo=
rmat no later than November 4, 2009. Formatting instructions available at:=
=0A=0Ahttp://www.springer.com/computer/lncs?SGWID=3D0-164-7-72376-0=0A=0ATh=
e papers will be peer reviewed by at least three members of the program com=
mittee. Authors will be notified via email on the results of the review by =
6 January 2009.=0A=0AThe authors of accepted papers will have to improve th=
eir paper on the basis of the reviewers' comments and will be asked to send=
a camera ready version of their manuscripts, along with text sources and p=
ictures, by 10 January 2010. The accepted papers will appear in the event p=
roceedings, published in Springer LNCS Series, which will be available at t=
he event.=0A=0AFurther information, including the Online Submission Details=
, can be found on the following pages:=0A Evo*2010: http://www.evostar.o=
rg=0A EvoMUSART2010: http://dces.essex.ac.uk/research/evostar/evomusart.=
html=0A=0A=0A--------------------------------------------------------------=
--------=0A IMPORTANT DATES=0A---------------------------------------------=
-
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[Yasmin_discussions] The Arts in the Context of Darwinian Theory of Evolution Today

yasminers

at the art and darwin symposium we had a great presentation
by Jean Gagnepin, director of the pregistory museum at Quinson

http://www.museeprehistoire.com/

<http://www.museeprehistoire.com/>he gave an intersting presentation on
human pre history
and how its study is being revolutionised by both genetic
science but also new discoveries of prehistoric sites

this news release feeds into his presentation

roger

---------- Forwarded message ----------
From: Kathy Carr <kathycarr@futurefoundation.org>
Date: Wed, Oct 28, 2009 at 4:37 AM
Subject: 2009 Kistler Prize to Dr. Svante Pääbo

*Foundation For the Future to Award $100,000 Kistler Prize to Dr. Svante* *
Pääbo*

BELLEVUE, WA, October 27, 2009 - Foundation For the Future has selected Dr.
Svante Pääbo* *as the 2009 winner of the Kistler Prize. The Prize has been
awarded annually since 2000 to honor original work that significantly
increases knowledge and understanding of the relationship between the human
genome and society. Dr. Svante* *Pääbo, a biologist specializing in
evolutionary genetics, is Director of the Department of Genetics at Max
Planck Institute for Evolutionary Anthropology in Lepzig, Germany.

Dr. Pääbo is being honored for a body of work with ancient DNA, beginning in
1984 with the demonstrations of DNA survival in a 2,400-year-old mummy. He
developed and refined the techniques used to isolate and sequence ancient
DNA, thus playing a key role in creating the field of molecular
paleontology. In 1997 he and his colleagues reported the first successful
analysis of DNA from Neanderthal bones, and in 2006 he launched a project to
commence the sequencing of the complete Neanderthal genome. By early 2009,
the first draft version of the Neanderthal genome had been completed, with
over 3 billion base pairs sequenced. Dr. Pääbo has helped not only to
clarify the nature of the relationship between humans and Neanderthals, but
also to uncover genetic changes in the transformation from nonhuman primates
to modern humans. For example, he is known for his research on the evolution
of the FOXP2 gene that is implicated in the development of language.

"Dr. Pääbo's work is of a pioneering nature in terms of connecting the
science of genetics with human evolution at very basic levels," said Sesh
Velamoor, Foundation For the Future Director of Programs. "His work takes on
the macro issues of the origins of humans and why modern humans composed an
evolutionary experiment that worked while other near species did not.
Answers to these questions aid significantly in our understanding of
humanity and how genetics has impacted human society."

The Kistler Prize includes a cash award of US$100,000 and a 180-gram gold
medallion. It is named for Walter P. Kistler, President and benefactor of
Foundation For the Future, who will formally present the 2009 award to Dr.
Pääbo in a gala banquet and ceremony in Seattle, October 29, 2009. The
invitation-only event is expected to draw scientists, social scientists, and
other scholars from all over the world.

Besides the Kistler Prize, Foundation For the Future also awards the Walter
P. Kistler Book Award, Walter P. Kistler Science Documentary Film Award, and
Walter P. Kistler Science Teacher Award. The Foundation convenes seminars,
workshops, and symposia that focus on the long-term future of humanity, and
it is presently developing a four-program television documentary series
entitled *The Next Thousand Years*. This fall it launched the new Walter P.
Kistler Lecture Series. It also funds research programs, publishes scholarly
works, and undertakes public awareness and education programs concerning the
long-term future of humanity. Details on its activities are available at
http://www.futurefoundation.org.

###

Contact:

Sesh Velamoor
Trustee & Director of Programs
s*eshvelamoor@futurefoundation.org
*425-451-1333

Jean Gilbertson
Mgr., Public Relations
j*eangilbertson@futurefoundation.org
*425-451-1333

<
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[Yasmin_discussions] Re : Oral Traditions and New Media

Hello,Thanks Myriam of talking about our workshopThe art creation on Second Life we set together with the Algerian students was a very interessant experienceSo, the elearning on Virtual environments had immigrated from Web 2.0 to the Web 3Dand that's why we can create and interact on the Second Life's 3d space with liberty and interact with each other easily than on the Web pages.Second Life offers a multiple choice to artists to have the opportunity to show their art and their own vision of the RL world either their philosophy.Talk with you soon to complete our discussion!!Wafa Bourkhis

--- En date de : Mer 28.10.09, roger malina <rmalina@alum.mit.edu> a écrit :

De: roger malina <rmalina@alum.mit.edu>
Objet: [Yasmin_discussions] Oral Traditions and New Media
À: "YASMIN DISCUSSIONS" <Yasmin_discussions@estia.media.uoa.gr>, "Myriam Hammani" <mhammani@hotmail.com>
Date: Mercredi 28 Octobre 2009, 20h51

Myriam

good to ear about your workshop in Algiers ! can you tell us more
about it- our art and darwin discussion is ending so it would be great
to start discussing oral traditions and new media !!

roger

-Hi Yasminers...

This is Myriam Hammani

I would like to open the topic on the subject of making art on second life
and the workshop I gave at the ecole des beaux arts of Algiers in May with
Wafa Bourkis...I wwould liek to talk about the experience...and it is very
interesting...also the politics behind making art and perpetuating  oral
tradition in the new media world...with video and with second life and with
interactive electronic installations.
Please let me know when and if you are intereted in this subject...
i m very much into Oral tradition and it s manifestation on film and new
mediums of expression...
_______________________________________________
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[Yasmin_discussions] Oral Traditions and New Media

Myriam

good to ear about your workshop in Algiers ! can you tell us more
about it- our art and darwin discussion is ending so it would be great
to start discussing oral traditions and new media !!

roger

-Hi Yasminers...

This is Myriam Hammani

I would like to open the topic on the subject of making art on second life
and the workshop I gave at the ecole des beaux arts of Algiers in May with
Wafa Bourkis...I wwould liek to talk about the experience...and it is very
interesting...also the politics behind making art and perpetuating oral
tradition in the new media world...with video and with second life and with
interactive electronic installations.
Please let me know when and if you are intereted in this subject...
i m very much into Oral tradition and it s manifestation on film and new
mediums of expression...
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

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[Yasmin_discussions] Announcement: Upgrade! Berlin with F.A.T. Lab and Artzilla / Sat. Oct 31st

Hello,

this is the first time I am posting to the list, so I quickly introduce myself: Ela Kagel, freelance curator and producer / I organise the Upgrade! meetings in Berlin, and I am involved in Public Art Lab and in the program team of the transmediale festival for art and digital culture.

I want to invite all of you who will be in Berlin for Helloween to join us for our Helloween Upgrade! event with presentations, exhibition opening, drinks and music:

F.A.T. Lab presentation & Artzilla "Skate The Web" opening with Aram Bartholl and Tobias Leingruber!

SATURDAY, OCTOBER 31st 2009, 8pm at BETAHAUS Berlin, Prinzessinnenstrasse 19-20, directly at Moritzplatz.

http://www.upgrade-berlin.net

Aram Bartholl and Tobias Leingruber will present The Free Art and Technology (F.A.T.) Lab:

F.A.T. Lab is an organization dedicated to enriching the public domain through the research and development of creative technologies and media. Release early, often and with rap music. This is Notorious R&D. The entire F.A.T. network of artists, engineers, scientists, lawyers,
musicians and Bornas are committed to supporting open values and the public domain through the use of emerging open licenses, support for open entrepreneurship and the admonishment of secrecy, copyright monopolies and patents.

F.A.T. Lab is nominated for the transmediale award 2010.

Aram Bartholl and Tobias Leingruber are both members of the F.A.T. Lab collective and will talk about their own artistic practice, too.

On the same night Tobias Leingruber will present Artzilla.org including the opening of his "Skate The Web" solo show at Betahaus.

Artzilla.org is dedicated to the development of experimental browser software. The platform collects and exhibits creative works, shares code and tutorials, and publishs news from the scene.
Internet artists, street artists and skateboarders are using public architecture in ways, the creators didn't expect it to be used. Artzilla.org is a collection of browser modifications which challenge our online society by pointing out cultural clashes, remixing existing
structures in uncommon ways, and using public online services to create art work. Let?s SKATE THE WEB! Artzilla was presented at WORM Rotterdam and ROFL-Con New York.

Please find more infos here: http://www.upgrade-berlin.net

This event is a cooperation with the transmediale festival for art and digital culture: http://www.transmediale.de and Public Art Lab Berlin (http://www.publicartlab.org).

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[Yasmin_discussions] CFP:New Media and Interactivity:

Announcement

Call for Papers for the 2nd International Conference on New Media and
Interactivity:

Dear Colleague, You are cordially invited to the 2nd International
Conference on New Media and Interactivity (NMIC 2010). It will take
place in Nisantasi, Istanbul, Turkey, on April 28th - 30th, 2010.

The conference web site is now online at: http://iletisim.marmara.edu.tr/newmedia
.

We invite you to visit conference web page and send your abstract(s)
until 4th January 2010.

Important Dates:

Call for Papers: 09 October 2009 Friday
Deadline for Abstract Submission: 04 January 2010 Monday
Early Bird Registration Deadline: 15 March 2010 Monday
Camera-Ready Full Paper Submission Deadline: 09 April 2010 Friday
Conference Program Announcement: 19 April 2010 Monday

MainTopics:

Theoretical and Conceptual Framework of New Media
What is New about New Media?
New Communication Media
Interactivity
Convergence
Cybernetics and Cyberculture
Digital Divide
New Media and New Opportunities Trends in Intercultural International
Communications and Collaborations

New Media and Visual Culture
Virtual Reality
Digital Art and Semiology
Digital Cinema / Soft Cinema
Digital Television-IPTV Technologies
Virtual Communication Design
Social Video
3-D Cinema Systems and Technologies
Digital Animation
New wave in Radio Broadcasting: Trends and Possibilities

Communication Networks and Web Technologies
Ontology and the Semantic Web
Web Content Management
Web Personalization
Web Design Patterns and Pattern Mining
Web Usability and Accessibility Testing and Evaluation of Web Systems
and Applications Localization and Internalization of Web Applications
Mobile Web and Wireless Technologies
Web Intelligence, Agents and Personalization
Enterprise Web
Pervasive, Mobile and Peer-to-Peer Computing Technologies
Security, Privacy, Trust and Reputation for e/m Services
Web Interfaces and Applications
Web Security and Privacy
Intrusion Detection and Response
Web Content Mining
Web Farming and Warehousing
Web Information Filtering and Retrieval
Portal Strategies

Everyday Life and New Media
Computer Mediated Communication
New Media and Society
Edutainment
Infotainment
Computer Games
Identity and Gender in New Media
Cyebrsex and Cybergame
Cyber Law and Cyber Crime
Human-Machine Interaction
Internet Addiction
Ethics in Cyber Society
Online Friendship and Virtual Relationship
Trust and Privacy Issues in Cyber Society
The Future of E-Society
E-Technologies in Human Interaction, Community, Education or Knowledge
Sharing
Technical or Psychological Issues for E-Society
Social Web
Social Information Systems
Social Networks and Organizational Culture
Governmental and Social Main Concerns on E-Community
E-Education or E-Learning Platform
Practices and Cases in E-Governments, E-Organization

Economy of New Media
Knowledge Economy
Trends in Intercultural International Communications and Collaborations
Media Challenges and Opportunities in the Digital Age
Media and Localization New Approaches
The Business and Impact of Global Media
Media Industry Challenges and Opportunities
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Law, Copyright, and Intelligent Property in E-Commerce
Internet Marketing and E-Marketplaces
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Practices and Cases in E-Society
New Media and Democracy
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The Mobile Platform 2.0: Establishing the Personalized Video, Music,
and Communications Experience
New Approaches in Journalism: Internet Journalism, Blog, Vlog, Tubes
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Advertising Accountability: Metrics and Analytics around Video, Social
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Internet Advertising / E-Advertising
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The Television Ecosystem: Cable, Telco, High Definition, Broadband,
Mobile, Satellite -Defining the Future of Entertainment and
Communications

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[Yasmin_discussions] Would like to talk about oral tradition perpertuating itself onto filmic support and interactive electronic arts

Hi Yasminers...
This is Myriam Hammani
I would like to open the topic on the subject of making art on second life and the workshop I gave at the ecole des beaux arts of Algiers in May with Wafa Bourkis...I wwould liek to talk about the experience...and it is very interesting...also the politics behind making art and perpetuating oral tradition in the new media world...with video and with second life and with interactive electronic installations. Please let me know when and if you are intereted in this subject...i m very much into Oral tradition and it s manifestation on film and new mediums of expression...

> From: yasmin_discussions-request@estia.media.uoa.gr
> Subject: Yasmin_discussions Digest, Vol 48, Issue 1
> To: yasmin_discussions@estia.media.uoa.gr
> Date: Tue, 6 Oct 2009 02:01:22 +0300
>
> Send Yasmin_discussions mailing list submissions to
> yasmin_discussions@estia.media.uoa.gr
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
> or, via email, send a message with subject or body 'help' to
> yasmin_discussions-request@estia.media.uoa.gr
>
> You can reach the person managing the list at
> yasmin_discussions-owner@estia.media.uoa.gr
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Yasmin_discussions digest..."
>
>
> Today's Topics:
>
> 1. Re: art in extreme environments (Annick Bureaud)
> 2. artists workng with scientists in extreme environments
> (roger malina)
> 3. Re: art in extreme environments (Annick Bureaud)
> 4. Re: artists workng with scientists in extreme environments
> (Simon Biggs)
> 5. Re: artists workng with scientists in extreme environments
> (David Haley)
> 6. Re: artists workng with scientists in extremeenvironments
> (Janelle Cugley)
> 7. Re: artists workng with scientists in extreme environments
> (Sarah Jane Pell)
> 8. Re: artists workng with scientists in extreme environments
> (Simon Biggs)
> 9. Re: art in extreme environments (Andrea)
> 10. Re: artists workng with scientists in extreme environments
> (teoman madra)
> 11. Re: artists workng with scientists in extreme environments
> (David Haley)
> 12. Re: art in extreme environments (Annick Bureaud)
> 13. Re: artists workng with scientists in extreme environments
> (Simon Biggs)
> 14. Art, Science, Extreme Environments (laura cinti)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 02 Oct 2009 12:05:32 +0200
> From: Annick Bureaud <abureaud@gmail.com>
> Subject: Re: [Yasmin_discussions] art in extreme environments
> To: research@sarahjanepell.com
> Cc: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <4AC5D06C.4030703@gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> to Sarah Jane and all Yasminers
>
>
> I suspect another way to phrase it shortly is :
>
> from my point of view as long as a place remains "exotic",
> we are in trouble, as long as anything remains exotic, we
> are in trouble.
>
>
> Annick
>
> --
>
> ------------------------
> Annick Bureaud (abureaud@gmail.com)
> tel/fax : 33/(0)1 43 20 92 23
> mobile/cell : 33/(0)6 86 77 65 76
> Leonardo/Olats : http://www.olats.org
> -------------------------
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sat, 3 Oct 2009 17:15:19 +0200
> From: roger malina <rmalina@alum.mit.edu>
> Subject: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
> <4fe4f0af0910030815i4412698ci443d21d49cac7908@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> yasminers
> here is another thought- are extreme environments only
> physical/geographical
> exploration- or can one also explore extreme mental states ?
>
> yesterday i was with christian xerri who is a neuroscientist in marseille
> and
> jim gimzewksi
>
> were were discussing the work that xerri does with alzheimers
> patients
>
> christian's work includes looking at ways the brain re organises
> itself after trauma
>
> *Curre*
> *Research topics *
>
> 1. Experience-dependent malleability of somatosensory cortical maps
> during development and maturation.
> 2. Postlesion remodeling of somatosensory maps after brain damage.
> 3. Spatio-temporal coding of tactile inputs within cortical networks.
> 4. Biochemical and morphological mechanisms involved in somatosensory map
> reorganization.
> 5. Elaboration and recognition of haptic and visual forms: a fMRI study.
>
> christian's son your is an artist and art therapist and they are working on
> art science collaborations
>
> xerri's lab has developed interactive software tools that are used to help
> patients with impaired
> memory etc
>
>
> a related connection is how humans in extreme environments have modified
> percetion
> , i heard a talk by michel marcelin who mentioned that at high altidue
> vision is affected ( see for instance
> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>
> so for the discussion i thought i would introduce the topic of modification
> of mental states
> in extrement enviroments, but also extreme zones of mental states themselves
> as part
> of this discussion
>
> roger
>
>
> ------------------------------
>
> Message: 3
> Date: Fri, 02 Oct 2009 14:33:31 +0200
> From: Annick Bureaud <abureaud@gmail.com>
> Subject: Re: [Yasmin_discussions] art in extreme environments
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <4AC5F31B.4060801@gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Dear Yasminers,
>
> Some available documents to bring "food for thoughts" and
> discussions :
>
> 1 - The catalogue of the @rt Outsiders festival is now
> available to download at :
> http://www.art-outsiders.com/edition2009/expo.htm
>
> This catalogue is bilingual French/English
> In it, you'll find :
> - texts by the artists about their work
> - introduction by the co-curators (Jean-Luc Soret and myself)
> - A very interesting and challenging text by Louis Bec that
> should bring more debates and exchanges in our discussion
> and that I strongly recommend reading.
>
> 2 - (Self) interview of Stephen Eastaugh (based on a
> question we asked him)
> available at :
> http://www.art-outsiders.com/edition2009/artiste05.htm
> (scroll down the page)
> Note that Stephen is currently wintering over at the
> antarctic australian base of Mawson and cannot (for various
> reasons) take part in our discussion. In this trip, he will
> have spend over a year in Antarctica (and he has been to the
> Continent several times on shorter stays).
> For Stephen (who is familiar with all sorts of environments,
> and particularly barren ones), and who is spending *real*
> time there, Antarctica is anything but "home" and far from
> becoming so, if at all (I think I am true to his ideas by
> saying that).
> This interview (only 5 minutes long) is worth listening to.
>
> Well, in case, you didn't know what to do during your
> week-end, now you have a plan !
>
> Best
> Annick
>
> --
>
> ------------------------
> Annick Bureaud (abureaud@gmail.com)
> tel/fax : 33/(0)1 43 20 92 23
> mobile/cell : 33/(0)6 86 77 65 76
> Leonardo/Olats : http://www.olats.org
> -------------------------
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Sat, 03 Oct 2009 16:59:57 +0100
> From: "Simon Biggs" <s.biggs@eca.ac.uk>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <C6ED338D.228F4%s.biggs@eca.ac.uk>
> Content-Type: text/plain; charset="ISO-8859-1"
>
> It could be asserted that exploring extreme states of mind (as opposed to
> the brain) is standard operating artists procedure (SOAP). The mind is
> arguably an imagined thing and artists routinely seek to imagine it in its
> strangest or most extreme state, whether as something isolated (mind as
> location of the individual) or networked (the mind as instantiation of the
> social being). As an artist I consciously seek to do this, imagining myself
> into a mental state. When it starts to feel dangerous that?s when I think I
> might be getting somewhere.
>
> There is also a long history of artists who have been regarded as rather
> mad. Whether they were so because they were ill (in conventional medical
> terms ? John Martin, for example - which is deeply problematic for anyone of
> a Foucauldian or Langian persuasion) or pushing their ideas to extremes
> (such that people thought them mad) or simply taking too many drugs (that
> seems to render other people mad).
>
> Turning back to extreme environments, artists have similarly explored these,
> even when the places they visited were either not that extreme or were
> actually imaginary. Here I am thinking of the Romantics, with Caspar David
> Friedrich or Beethoven seeking to evoke what they felt to be the sublime
> (extreme) in nature and the (extreme) states this transported them to. There
> was no need for them to go to the Moon to achieve this ? although perhaps in
> our over-stimulated society this is the reason artists are seeking to do
> this. They are simply exhibiting our shared symptoms of environmental
> disassociation.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> s.biggs@eca.ac.uk
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> www.eca.ac.uk/circle/
>
> simon@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: roger malina <rmalina@alum.mit.edu>
> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Date: Sat, 3 Oct 2009 17:15:19 +0200
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Subject: [Yasmin_discussions] artists workng with scientists in extreme
> environments
>
> yasminers
> here is another thought- are extreme environments only
> physical/geographical
> exploration- or can one also explore extreme mental states ?
>
> yesterday i was with christian xerri who is a neuroscientist in marseille
> and
> jim gimzewksi
>
> were were discussing the work that xerri does with alzheimers
> patients
>
> christian's work includes looking at ways the brain re organises
> itself after trauma
>
> *Curre*
> *Research topics *
>
> 1. Experience-dependent malleability of somatosensory cortical maps
> during development and maturation.
> 2. Postlesion remodeling of somatosensory maps after brain damage.
> 3. Spatio-temporal coding of tactile inputs within cortical networks.
> 4. Biochemical and morphological mechanisms involved in somatosensory map
> reorganization.
> 5. Elaboration and recognition of haptic and visual forms: a fMRI study.
>
> christian's son your is an artist and art therapist and they are working on
> art science collaborations
>
> xerri's lab has developed interactive software tools that are used to help
> patients with impaired
> memory etc
>
>
> a related connection is how humans in extreme environments have modified
> percetion
> , i heard a talk by michel marcelin who mentioned that at high altidue
> vision is affected ( see for instance
> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>
> so for the discussion i thought i would introduce the topic of modification
> of mental states
> in extrement enviroments, but also extreme zones of mental states themselves
> as part
> of this discussion
>
> roger
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
> the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your
> e-mail address in the last field. Enter password if asked. Click on the
> unsubscribe button on the page that will appear ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Sat, 3 Oct 2009 20:38:46 +0100
> From: David Haley <D.Haley@mmu.ac.uk>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <1805237B-1014-4446-B536-3CBB74E7A823@mmu.ac.uk>
> Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes;
> format=flowed
>
> Dear Simon
>
> Is this not a rather Cartesian, mind/body split way of seeing
> things. Please refer to George Lakoff and Mark Johnson's Philosophy
> in the Flesh, or Francisco Varela's The Embodied Mind: Cognitive
> Science and Human Experience, or Maurice Merleau-Ponty's
> Phenomenology of Perception, or...
>
> All the best
>
> David
>
> On 3 Oct 2009, at 16:59, Simon Biggs wrote:
>
>> It could be asserted that exploring extreme states of mind (as
>> opposed to
>> the brain) is standard operating artists procedure (SOAP). The mind is
>> arguably an imagined thing and artists routinely seek to imagine it
>> in its
>> strangest or most extreme state, whether as something isolated
>> (mind as
>> location of the individual) or networked (the mind as instantiation
>> of the
>> social being). As an artist I consciously seek to do this,
>> imagining myself
>> into a mental state. When it starts to feel dangerous that?s when I
>> think I
>> might be getting somewhere.
>>
>> There is also a long history of artists who have been regarded as
>> rather
>> mad. Whether they were so because they were ill (in conventional
>> medical
>> terms ? John Martin, for example - which is deeply problematic for
>> anyone of
>> a Foucauldian or Langian persuasion) or pushing their ideas to
>> extremes
>> (such that people thought them mad) or simply taking too many drugs
>> (that
>> seems to render other people mad).
>>
>> Turning back to extreme environments, artists have similarly
>> explored these,
>> even when the places they visited were either not that extreme or were
>> actually imaginary. Here I am thinking of the Romantics, with
>> Caspar David
>> Friedrich or Beethoven seeking to evoke what they felt to be the
>> sublime
>> (extreme) in nature and the (extreme) states this transported them
>> to. There
>> was no need for them to go to the Moon to achieve this ? although
>> perhaps in
>> our over-stimulated society this is the reason artists are seeking
>> to do
>> this. They are simply exhibiting our shared symptoms of environmental
>> disassociation.
>>
>> Best
>>
>> Simon
>>
>>
>> Simon Biggs
>>
>> Research Professor
>> edinburgh college of art
>> s.biggs@eca.ac.uk
>> www.eca.ac.uk
>>
>> Creative Interdisciplinary Research into CoLlaborative Environments
>> www.eca.ac.uk/circle/
>>
>> simon@littlepig.org.uk
>> www.littlepig.org.uk
>> AIM/Skype: simonbiggsuk
>>
>>
>>
>> From: roger malina <rmalina@alum.mit.edu>
>> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>> Date: Sat, 3 Oct 2009 17:15:19 +0200
>> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
>> Subject: [Yasmin_discussions] artists workng with scientists in
>> extreme
>> environments
>>
>> yasminers
>> here is another thought- are extreme environments only
>> physical/geographical
>> exploration- or can one also explore extreme mental states ?
>>
>> yesterday i was with christian xerri who is a neuroscientist in
>> marseille
>> and
>> jim gimzewksi
>>
>> were were discussing the work that xerri does with alzheimers
>> patients
>>
>> christian's work includes looking at ways the brain re organises
>> itself after trauma
>>
>> *Curre*
>> *Research topics *
>>
>> 1. Experience-dependent malleability of somatosensory cortical maps
>> during development and maturation.
>> 2. Postlesion remodeling of somatosensory maps after brain damage.
>> 3. Spatio-temporal coding of tactile inputs within cortical
>> networks.
>> 4. Biochemical and morphological mechanisms involved in
>> somatosensory map
>> reorganization.
>> 5. Elaboration and recognition of haptic and visual forms: a
>> fMRI study.
>>
>> christian's son your is an artist and art therapist and they are
>> working on
>> art science collaborations
>>
>> xerri's lab has developed interactive software tools that are used
>> to help
>> patients with impaired
>> memory etc
>>
>>
>> a related connection is how humans in extreme environments have
>> modified
>> percetion
>> , i heard a talk by michel marcelin who mentioned that at high altidue
>> vision is affected ( see for instance
>> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>>
>> so for the discussion i thought i would introduce the topic of
>> modification
>> of mental states
>> in extrement enviroments, but also extreme zones of mental states
>> themselves
>> as part
>> of this discussion
>>
>> roger
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>> subscribe to. In
>> the page that will appear ("info page"), enter e-mail address,
>> name, and
>> password in the fields found further down the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>> enter your
>> e-mail address in the last field. Enter password if asked. Click on
>> the
>> unsubscribe button on the page that will appear ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>> "Set
>> Digest Mode" option and set it to either on or off.
>>
>>
>> Edinburgh College of Art (eca) is a charity registered in Scotland,
>> number SC009201
>>
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>> subscribe to. In the page that will appear ("info page"), enter e-
>> mail address, name, and password in the fields found further down
>> the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>> enter your e-mail address in the last field. Enter password if
>> asked. Click on the unsubscribe button on the page that will appear
>> ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>> "Set Digest Mode" option and set it to either on or off.
>
> David Haley BA(Hons) MA FRSA
>
> Senior Research Fellow
> Director, A&E [art&ecology] research unit
> MA Art As Environment Programme Leader
> SEA: Social & Environmental Arts Research Centre
> MIRIAD
> Manchester Metropolitan University
> Righton Building, Cavendish Street,
> Manchester M15 6 BG
>
> T: +44 (0)161 247 1093
> F: +44 (0)161 2476870
> M: 07725 405 365
> W: www.artdes.mmu.ac.uk/profile/dhaley
> W: www.miriad.mmu.ac.uk/artandecology
>
>
> "Before acting on this email or opening any attachments you
> should read the Manchester Metropolitan University's email
> disclaimer available on its website
> http://www.mmu.ac.uk/emaildisclaimer "
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 6
> Date: Sun, 4 Oct 2009 08:04:44 +0800
> From: "Janelle Cugley" <blueskythink@iprimus.com.au>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extremeenvironments
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <001c01ca4487$51d72b50$6401a8c0@janelledesktop>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> If may respond to Simon,
>
> I wholeheartedly agree. Place definition and extreme, need not be in any
> other place than in our own skin. Our own home, our own community,
> especially when our communities have lost sense of the self, the
> collaborative, co creation and jest at artists or others who speak of
> ushering ourselves and others towards ways we can transcend and provoke new
> thoughts around old habits and our existing habitats.
>
> We can dream up new ways to think about country and of its care, city spaces
> and new vitality, pockets of eruption into something not yet conceived or
> realized. Making this also extreme in light of the current conventional
> thinking that insists on continued governance and highly agended controls
> through bureaucracy's and councils. or at the other end of the scale through
> community driven projects that just pick up what artists have conceived and
> dilute it in such a way it becomes main stream and possibly mundane to
> appease funding bodies , or enhance organizations profile that require some
> form of creative community outcome to increase their own profiled
> profitability margins.
> Extreme may be just in an action.
>
> Three years of walking a city tagged Dull, asking for planners and
> architects and community members to walk along side artists to wonder,
> experience and co create was seen to be crazy... extreme...
> extreme in Germany and Madrid may not have the same definition of extreme as
> that of in a conservative city like, I will say it Perth WA!
> 100 artists 100 others walking together.. just having a conversation would
> be seen to be seen extreme, crazy, provocative and unauthorized. perhaps a
> riot!
> This action elsewhere may be seen to be enlightening new ways to explore
> existing shared spaces and places, sending multiple rendering of ideas
> reverberating through spaces , new messages made and place shaken by
> thoughts about emergent possibilities.. towards future spaces including our
> own psychological sense of place.
> artists unlike historians tend towards celebrating ideas that are seen to
> provoke new action in both cities and rural areas, ( even outer space) that
> are seeking something some other way anyway.However this is most often held
> under the breathe of Politicians and Governance structures, even creative
> organizations themselves that see these actions(even as a spoken suggestion)
> as unruly therefor setting boundaries of control towards such action. Crazy!
>
> By bringing arts science and other into a mix in our more conservative
> existing spaces with an intent of exploration, without the shackles of
> expectation we may collectively inspire ideas and set of imagination that
> celebrates art production in all its guises, and cut a clearer path for
> those that think sideways about issues generating support for projects that
> are titled crazy, extreme or possibly even seen as dangerous.
> My guess is that it perhaps depends on the interpretation and from whom
> intentions and agendas of both the conceptualize and the governing or
> funding bodies that have the authority to allow or not allow projects to
> emerge.
> Perth is an extremely beautiful city with stunning sunsets and daybreak's,
> yet we choose to sleep through not recognizing daylight as a saving
> attribute.Perth is asleep by 5:00pm. This is an extreme waste, an extreme
> challenge and an opportunity.
>
> I like your thinking Simon,
> thank you.
> Janelle Cugley
>
> ----- Original Message -----
> From: "Simon Biggs" <s.biggs@eca.ac.uk>
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Sent: Saturday, October 03, 2009 11:59 PM
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extremeenvironments
>
>
> It could be asserted that exploring extreme states of mind (as opposed to
> the brain) is standard operating artists procedure (SOAP). The mind is
> arguably an imagined thing and artists routinely seek to imagine it in its
> strangest or most extreme state, whether as something isolated (mind as
> location of the individual) or networked (the mind as instantiation of the
> social being). As an artist I consciously seek to do this, imagining myself
> into a mental state. When it starts to feel dangerous that?s when I think I
> might be getting somewhere.
>
> There is also a long history of artists who have been regarded as rather
> mad. Whether they were so because they were ill (in conventional medical
> terms ? John Martin, for example - which is deeply problematic for anyone of
> a Foucauldian or Langian persuasion) or pushing their ideas to extremes
> (such that people thought them mad) or simply taking too many drugs (that
> seems to render other people mad).
>
> Turning back to extreme environments, artists have similarly explored these,
> even when the places they visited were either not that extreme or were
> actually imaginary. Here I am thinking of the Romantics, with Caspar David
> Friedrich or Beethoven seeking to evoke what they felt to be the sublime
> (extreme) in nature and the (extreme) states this transported them to. There
> was no need for them to go to the Moon to achieve this ? although perhaps in
> our over-stimulated society this is the reason artists are seeking to do
> this. They are simply exhibiting our shared symptoms of environmental
> disassociation.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> s.biggs@eca.ac.uk
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> www.eca.ac.uk/circle/
>
> simon@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: roger malina <rmalina@alum.mit.edu>
> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Date: Sat, 3 Oct 2009 17:15:19 +0200
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Subject: [Yasmin_discussions] artists workng with scientists in extreme
> environments
>
> yasminers
> here is another thought- are extreme environments only
> physical/geographical
> exploration- or can one also explore extreme mental states ?
>
> yesterday i was with christian xerri who is a neuroscientist in marseille
> and
> jim gimzewksi
>
> were were discussing the work that xerri does with alzheimers
> patients
>
> christian's work includes looking at ways the brain re organises
> itself after trauma
>
> *Curre*
> *Research topics *
>
> 1. Experience-dependent malleability of somatosensory cortical maps
> during development and maturation.
> 2. Postlesion remodeling of somatosensory maps after brain damage.
> 3. Spatio-temporal coding of tactile inputs within cortical networks.
> 4. Biochemical and morphological mechanisms involved in somatosensory map
> reorganization.
> 5. Elaboration and recognition of haptic and visual forms: a fMRI study.
>
> christian's son your is an artist and art therapist and they are working on
> art science collaborations
>
> xerri's lab has developed interactive software tools that are used to help
> patients with impaired
> memory etc
>
>
> a related connection is how humans in extreme environments have modified
> percetion
> , i heard a talk by michel marcelin who mentioned that at high altidue
> vision is affected ( see for instance
> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>
> so for the discussion i thought i would introduce the topic of modification
> of mental states
> in extrement enviroments, but also extreme zones of mental states themselves
> as part
> of this discussion
>
> roger
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
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> SC009201
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
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> --------------------------------------------------------------------------------
>
>
>
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>
>
> ------------------------------
>
> Message: 7
> Date: Sat, 3 Oct 2009 21:00:23 -0700 (PDT)
> From: Sarah Jane Pell <sarahjanepell@yahoo.com>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <21901.45062.qm@web38004.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Of course, I am reminded of artists/divers exploring the sublime depths whilst experiencing nitrogen narcosis: the rapture of the deep... ahhhhmmmm
>
> ?www.faqs.org/health/topics/13/Nitrogen-narcosis.html
>
> --- On Sun, 4/10/09, Simon Biggs <s.biggs@eca.ac.uk> wrote:
>
> From: Simon Biggs <s.biggs@eca.ac.uk>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in extreme environments
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Received: Sunday, 4 October, 2009, 1:59 AM
>
> It could be asserted that exploring extreme states of mind (as opposed to
> the brain) is standard operating artists procedure (SOAP). The mind is
> arguably an imagined thing and artists routinely seek to imagine it in its
> strangest or most extreme state, whether as something isolated (mind as
> location of the individual) or networked (the mind as instantiation of the
> social being). As an artist I consciously seek to do this, imagining myself
> into a mental state. When it starts to feel dangerous that?s when I think I
> might be getting somewhere.
>
> There is also a long history of artists who have been regarded as rather
> mad. Whether they were so because they were ill (in conventional medical
> terms ? John Martin, for example - which is deeply problematic for anyone of
> a Foucauldian or Langian persuasion) or pushing their ideas to extremes
> (such that people thought them mad) or simply taking too many drugs (that
> seems to render other people mad).
>
> Turning back to extreme environments, artists have similarly explored these,
> even when the places they visited were either not that extreme or were
> actually imaginary. Here I am thinking of the Romantics, with Caspar David
> Friedrich or Beethoven seeking to evoke what they felt to be the sublime
> (extreme) in nature and the (extreme) states this transported them to. There
> was no need for them to go to the Moon to achieve this ? although perhaps in
> our over-stimulated society this is the reason artists are seeking to do
> this. They are simply exhibiting our shared symptoms of environmental
> disassociation.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> s.biggs@eca.ac.uk
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> www.eca.ac.uk/circle/
>
> simon@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: roger malina <rmalina@alum.mit.edu>
> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Date: Sat, 3 Oct 2009 17:15:19 +0200
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Subject: [Yasmin_discussions] artists workng with scientists in extreme
> environments
>
> yasminers
> here is another thought- are extreme environments only
> physical/geographical
> exploration- or can one also explore extreme mental states ?
>
> yesterday i was with christian xerri who is a neuroscientist in marseille
> and
> jim gimzewksi
>
> were were discussing the work that xerri does with alzheimers
> patients
>
> christian's work includes looking at ways the brain re organises
> itself after trauma
>
> *Curre*
> *Research topics *
>
> ???1. Experience-dependent malleability of somatosensory cortical maps
> ???during development and maturation.
> ???2. Postlesion remodeling of somatosensory maps after brain damage.
> ???3. Spatio-temporal coding of tactile inputs within cortical networks.
> ???4. Biochemical and morphological mechanisms involved in somatosensory map
> ???reorganization.
> ???5. Elaboration and recognition of haptic and visual forms: a fMRI study.
>
> christian's son your is an artist and art therapist and they are working on
> art science collaborations
>
> xerri's lab has developed interactive software tools that are used to help
> patients with impaired
> memory etc
>
>
> a related connection is how humans in extreme environments have modified
> percetion
> , i heard a talk by michel marcelin who mentioned that at high altidue
> vision is affected ( see for instance
> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>
> so for the discussion i thought i would introduce the topic of modification
> of mental states
> in extrement enviroments, but also extreme zones of mental states themselves
> as part
> of this discussion
>
> roger
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
> the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your
> e-mail address in the last field. Enter password if asked. Click on the
> unsubscribe button on the page that will appear ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
>
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>
>
>
> __________________________________________________________________________________
> Get more done like never before with Yahoo!7 Mail.
> Learn more: http://au.overview.mail.yahoo.com/
>
> ------------------------------
>
> Message: 8
> Date: Sun, 04 Oct 2009 11:55:48 +0100
> From: "Simon Biggs" <s.biggs@eca.ac.uk>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <C6EE3DC5.2290F%s.biggs@eca.ac.uk>
> Content-Type: text/plain; charset="ISO-8859-1"
>
> Hi David
>
> My argument was not Cartesian at all. I would sugest that there is an
> emerging mind/brain/body split being created in current discussion around
> neuroscience and consciousness studies (whatever consciousness is? ? I find
> that a contentious enough concept to begin with) and this presents a
> neo-Cartesian position. I would propose that rather than associating mind
> with the individual (body and/or brain) it might be more useful to regard it
> as an expanded network of agency (a more Deleuzian apprehension of self and
> other, where they all get a bit rhizomically mixed up). The physical is part
> of that (as Varela points out).
>
> I have read Varela pretty closely. His was an major contribution to the
> debate at the time. As for Merleau-Ponty, I?ve read a few of his books.
>
> I think you misunderstand where I am coming from ? I guess I didn?t
> articulate my position that well. Hope this clarifies it.
>
> My main point was that the Oextreme? is a matter of interpretation and not
> necessarily a function of place. Take that within a post-Derridean
> understanding of interpretation, where networks of poly-valent agency are at
> play, and you get to what I was trying to say.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> s.biggs@eca.ac.uk
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> www.eca.ac.uk/circle/
>
> simon@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: David Haley <D.Haley@mmu.ac.uk>
> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Date: Sat, 3 Oct 2009 20:38:46 +0100
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in extreme
> environments
>
> Dear Simon
>
> Is this not a rather Cartesian, mind/body split way of seeing
> things. Please refer to George Lakoff and Mark Johnson's Philosophy
> in the Flesh, or Francisco Varela's The Embodied Mind: Cognitive
> Science and Human Experience, or Maurice Merleau-Ponty's
> Phenomenology of Perception, or...
>
> All the best
>
> David
>
> On 3 Oct 2009, at 16:59, Simon Biggs wrote:
>
>> It could be asserted that exploring extreme states of mind (as
>> opposed to
>> the brain) is standard operating artists procedure (SOAP). The mind is
>> arguably an imagined thing and artists routinely seek to imagine it
>> in its
>> strangest or most extreme state, whether as something isolated
>> (mind as
>> location of the individual) or networked (the mind as instantiation
>> of the
>> social being). As an artist I consciously seek to do this,
>> imagining myself
>> into a mental state. When it starts to feel dangerous that?s when I
>> think I
>> might be getting somewhere.
>>
>> There is also a long history of artists who have been regarded as
>> rather
>> mad. Whether they were so because they were ill (in conventional
>> medical
>> terms ? John Martin, for example - which is deeply problematic for
>> anyone of
>> a Foucauldian or Langian persuasion) or pushing their ideas to
>> extremes
>> (such that people thought them mad) or simply taking too many drugs
>> (that
>> seems to render other people mad).
>>
>> Turning back to extreme environments, artists have similarly
>> explored these,
>> even when the places they visited were either not that extreme or were
>> actually imaginary. Here I am thinking of the Romantics, with
>> Caspar David
>> Friedrich or Beethoven seeking to evoke what they felt to be the
>> sublime
>> (extreme) in nature and the (extreme) states this transported them
>> to. There
>> was no need for them to go to the Moon to achieve this ? although
>> perhaps in
>> our over-stimulated society this is the reason artists are seeking
>> to do
>> this. They are simply exhibiting our shared symptoms of environmental
>> disassociation.
>>
>> Best
>>
>> Simon
>>
>>
>> Simon Biggs
>>
>> Research Professor
>> edinburgh college of art
>> s.biggs@eca.ac.uk
>> www.eca.ac.uk
>>
>> Creative Interdisciplinary Research into CoLlaborative Environments
>> www.eca.ac.uk/circle/
>>
>> simon@littlepig.org.uk
>> www.littlepig.org.uk
>> AIM/Skype: simonbiggsuk
>>
>>
>>
>> From: roger malina <rmalina@alum.mit.edu>
>> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>> Date: Sat, 3 Oct 2009 17:15:19 +0200
>> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
>> Subject: [Yasmin_discussions] artists workng with scientists in
>> extreme
>> environments
>>
>> yasminers
>> here is another thought- are extreme environments only
>> physical/geographical
>> exploration- or can one also explore extreme mental states ?
>>
>> yesterday i was with christian xerri who is a neuroscientist in
>> marseille
>> and
>> jim gimzewksi
>>
>> were were discussing the work that xerri does with alzheimers
>> patients
>>
>> christian's work includes looking at ways the brain re organises
>> itself after trauma
>>
>> *Curre*
>> *Research topics *
>>
>> 1. Experience-dependent malleability of somatosensory cortical maps
>> during development and maturation.
>> 2. Postlesion remodeling of somatosensory maps after brain damage.
>> 3. Spatio-temporal coding of tactile inputs within cortical
>> networks.
>> 4. Biochemical and morphological mechanisms involved in
>> somatosensory map
>> reorganization.
>> 5. Elaboration and recognition of haptic and visual forms: a
>> fMRI study.
>>
>> christian's son your is an artist and art therapist and they are
>> working on
>> art science collaborations
>>
>> xerri's lab has developed interactive software tools that are used
>> to help
>> patients with impaired
>> memory etc
>>
>>
>> a related connection is how humans in extreme environments have
>> modified
>> percetion
>> , i heard a talk by michel marcelin who mentioned that at high altidue
>> vision is affected ( see for instance
>> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>>
>> so for the discussion i thought i would introduce the topic of
>> modification
>> of mental states
>> in extrement enviroments, but also extreme zones of mental states
>> themselves
>> as part
>> of this discussion
>>
>> roger
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>> subscribe to. In
>> the page that will appear ("info page"), enter e-mail address,
>> name, and
>> password in the fields found further down the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>> enter your
>> e-mail address in the last field. Enter password if asked. Click on
>> the
>> unsubscribe button on the page that will appear ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>> "Set
>> Digest Mode" option and set it to either on or off.
>>
>>
>> Edinburgh College of Art (eca) is a charity registered in Scotland,
>> number SC009201
>>
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>> subscribe to. In the page that will appear ("info page"), enter e-
>> mail address, name, and password in the fields found further down
>> the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>> enter your e-mail address in the last field. Enter password if
>> asked. Click on the unsubscribe button on the page that will appear
>> ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>> "Set Digest Mode" option and set it to either on or off.
>
> David Haley BA(Hons) MA FRSA
>
> Senior Research Fellow
> Director, A&E [art&ecology] research unit
> MA Art As Environment Programme Leader
> SEA: Social & Environmental Arts Research Centre
> MIRIAD
> Manchester Metropolitan University
> Righton Building, Cavendish Street,
> Manchester M15 6 BG
>
> T: +44 (0)161 247 1093
> F: +44 (0)161 2476870
> M: 07725 405 365
> W: www.artdes.mmu.ac.uk/profile/dhaley
> W: www.miriad.mmu.ac.uk/artandecology
>
>
> "Before acting on this email or opening any attachments you
> should read the Manchester Metropolitan University's email
> disclaimer available on its website
> http://www.mmu.ac.uk/emaildisclaimer "
>
>
>
>
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
> the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
>
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> e-mail address in the last field. Enter password if asked. Click on the
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> Digest Mode" option and set it to either on or off.
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Sun, 04 Oct 2009 09:50:00 -0500
> From: Andrea <andrea@andreapolli.com>
> Subject: Re: [Yasmin_discussions] art in extreme environments
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <4bb42676b5a6de6814ca6e91e13d9e20@andreapolli.com>
> Content-Type: text/plain; charset="us-ascii"
>
> Here's an article that ties into the discussion on extreme man-made environments, noise levels in urban areas already regularly exceed the threshold of pain, add this to the mix:
>
> ***
> Crowd Control: How the 'Sonic Cannon' Works
>
> By Jeanna Bryner, Senior Writer
>
> posted: 25 September 2009 02:30 pm ET
>
> Police in Pittsburgh showed off the latest in crowd control Thursday as they reportedly used "sound cannons" to blast the ears of protesters near the Group of 20 meeting of world economic leaders.
>
> City officials said it was the first time such sound blasters, sometimes called sound weapons, were used publicly. But what exactly are they?
>
> "There was an array of sound amplifiers used during the demonstration," Lavonnie Bickerstaff of the Pittsburgh Bureau of Police, told LiveScience, adding, "The Poconos police brought the long-range acoustic device with them, but I don't know whether it was used."
>
> The long range acoustic device (LRAD) is designed for long-range communication and "unmistakable warning," according to the American Technology Corporation, which develops the instruments.
>
> "The LRAD basically is the ability to communicate clearly from 300 meters to 3 kilometers" (nearly 2 miles), said Robert Putnam of American Technology's media and investor relations. "It's a focused output. What distinguishes it from other communications tools out there is its ability to be heard clearly and intelligibly at a distance, unlike bullhorns."
>
> Its shrill warning tones can be heard at least 1,600 feet (500 meters) away and depending on the model of LRAD it can blast a maximum sound of 145 to 151 decibels — equal to a gunshot — within a 3-foot (one meter) range, according to American Technology. But there is a volume knob, so its output can be less than max, Putnam noted.
>
> On the decibel scale, an increase of 10 (say, from 70 to 80) means that a sound is 10 times more intense. Normal traffic noise can reach 85 decibels.
>
> For comparison, a jet engine sends out an ear-splitting 140 to 180 decibels of sound. Human conversation hovers at about 60 decibels. Permanent hearing loss can result from sounds at about 110 to 120 decibels in short bursts or even just 75 decibels if exposure lasts for long periods, according to the National Institutes of Health (NIH) and other sources.
>
> Anything over 120 decibels is liable to be noticeably painful for some individuals, and 150 decibels would hurt anyone's ears. Such sounds damage small hair cells in the inner ear that convert sound energy into electrical signals that travel to the brain. "Once damaged, our hair cells cannot grow back," the NIH states.
>
> But Putnam said under normal circumstances the LRAD is not harmful. "There's no way it can hurt you unless you have the ability to stand in front of it closely for several minutes," Putnam said in a telephone interview.
>
> If you did stand there at length, "It's like having a rock concert in three hours given to you in a half-hour," he added.
>
> The instrument's volume, along with its high-pitched tone, make for "painfully loud sound frequencies that are concentrated in a narrow beam and easily direct them at a target, not unlike using a spotlight," according to Gizmag.
>
> Putnam said the frequency of LRAD ranges from 2,800 Hertz to 3,000 Hertz. That's similar to the pitch of human speech, which is between 500 Hz and 3,000 Hz, the NIH states.
>
> ***
> --
> Andrea Polli
> Director, Interdisciplinary Film and Digital Media (IFDM)
> Director, ARTS Lab
> and Mesa Del Sol Chair of Digital Media
> College of Fine Arts
> UNM Center for the Arts, Bldg 62 MSC04-2570
> ABQ, NM 87131
> 505-277-0546
> apolli@unm.edu
> skype: andreapolli
> http://www.andreapolli.com
>
>
>
> ------------------------------
>
> Message: 10
> Date: Sun, 4 Oct 2009 17:39:20 +0300
> From: teoman madra <namoet2@gmail.com>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
> <b6eb371f0910040739y281221cbx588d8be47c216774@mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> new art forms at extreme env?ronments can or are very easily be?ng truly so
> ften on soc?olog?cal awkwardnesses
> For example avantgarde new mus?c concerts at remote, off the center reg?ons
> of the c?ty, may very well be stated as as art at extreme env?ronments.
> Further more, these same creat?ve new mus?c concerts and the like,
> esthetical abjections are also very truly be?ng cla?med as w?th?n extreme
> d?verse env?ronments. Should these concerts
> will be being launched at pol?t?cally very conservat?ve crowds and/or at
> excess?vely commerce or?ented consumer publics or social circles, aain
> extreme controvers?es will occur obst?inately...However, best w?ll be to
> encourage all anarch?c art act?vat?ons, just as decissively at all universal
> instances
> Therefore, art at such extreme env?roments
> are ?n most cases the ethically.quite correct ones.
>
>
> On Sat, Oct 3, 2009 at 6:15 PM, roger malina <rmalina@alum.mit.edu> wrote:
>
>> yasminers
>> here is another thought- are extreme environments only
>> physical/geographical
>> exploration- or can one also explore extreme mental states ?
>>
>> yesterday i was with christian xerri who is a neuroscientist in marseille
>> and
>> jim gimzewksi
>>
>> were were discussing the work that xerri does with alzheimers
>> patients
>>
>> christian's work includes looking at ways the brain re organises
>> itself after trauma
>>
>> *Curre*
>> *Research topics *
>>
>> 1. Experience-dependent malleability of somatosensory cortical maps
>> during development and maturation.
>> 2. Postlesion remodeling of somatosensory maps after brain damage.
>> 3. Spatio-temporal coding of tactile inputs within cortical networks.
>> 4. Biochemical and morphological mechanisms involved in somatosensory map
>> reorganization.
>> 5. Elaboration and recognition of haptic and visual forms: a fMRI study.
>>
>> christian's son your is an artist and art therapist and they are working on
>> art science collaborations
>>
>> xerri's lab has developed interactive software tools that are used to help
>> patients with impaired
>> memory etc
>>
>>
>> a related connection is how humans in extreme environments have modified
>> percetion
>> , i heard a talk by michel marcelin who mentioned that at high altidue
>> vision is affected ( see for instance
>> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>>
>> so for the discussion i thought i would introduce the topic of modification
>> of mental states
>> in extrement enviroments, but also extreme zones of mental states
>> themselves
>> as part
>> of this discussion
>>
>> roger
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to.
>> In the page that will appear ("info page"), enter e-mail address, name, and
>> password in the fields found further down the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter
>> your e-mail address in the last field. Enter password if asked. Click on the
>> unsubscribe button on the page that will appear ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
>> Digest Mode" option and set it to either on or off.
>>
>
>
> ------------------------------
>
> Message: 11
> Date: Sun, 4 Oct 2009 14:18:32 +0100
> From: David Haley <D.Haley@mmu.ac.uk>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <05428B8A-06CC-4ED0-9447-5DE34E73B80F@mmu.ac.uk>
> Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes;
> format=flowed
>
> Simon, hi
>
> Call me old fashioned, but whole systems that express emergent
> properties still do it for me - rhizomes are too horizontal for me,
> however organic they may be. I think I now understand your position
> better and agree one organism's extreme environment is another's
> ideal habitat. That's ecology for you.
>
> It is interesting that the Rhode Island School of Design, who to my
> understanding, first coined the expression, 'extreme environments' in
> their work with NAASA never consider Earth as an extreme
> environment. Why? Because nobody commissioned them to!
> All the best
>
> David
> PS. Regarding useful ideas on 'consciousness', it's always worth
> going back to Maturana and Varela's Santiago theory.
>
>
> On 4 Oct 2009, at 11:55, Simon Biggs wrote:
>
>> Hi David
>>
>> My argument was not Cartesian at all. I would sugest that there is an
>> emerging mind/brain/body split being created in current discussion
>> around
>> neuroscience and consciousness studies (whatever consciousness is?
>> ? I find
>> that a contentious enough concept to begin with) and this presents a
>> neo-Cartesian position. I would propose that rather than
>> associating mind
>> with the individual (body and/or brain) it might be more useful to
>> regard it
>> as an expanded network of agency (a more Deleuzian apprehension of
>> self and
>> other, where they all get a bit rhizomically mixed up). The
>> physical is part
>> of that (as Varela points out).
>>
>> I have read Varela pretty closely. His was an major contribution to
>> the
>> debate at the time. As for Merleau-Ponty, I?ve read a few of his
>> books.
>>
>> I think you misunderstand where I am coming from ? I guess I didn?t
>> articulate my position that well. Hope this clarifies it.
>>
>> My main point was that the Oextreme? is a matter of interpretation
>> and not
>> necessarily a function of place. Take that within a post-Derridean
>> understanding of interpretation, where networks of poly-valent
>> agency are at
>> play, and you get to what I was trying to say.
>>
>> Best
>>
>> Simon
>>
>>
>> Simon Biggs
>>
>> Research Professor
>> edinburgh college of art
>> s.biggs@eca.ac.uk
>> www.eca.ac.uk
>>
>> Creative Interdisciplinary Research into CoLlaborative Environments
>> www.eca.ac.uk/circle/
>>
>> simon@littlepig.org.uk
>> www.littlepig.org.uk
>> AIM/Skype: simonbiggsuk
>>
>>
>>
>> From: David Haley <D.Haley@mmu.ac.uk>
>> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>> Date: Sat, 3 Oct 2009 20:38:46 +0100
>> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>> Subject: Re: [Yasmin_discussions] artists workng with scientists in
>> extreme
>> environments
>>
>> Dear Simon
>>
>> Is this not a rather Cartesian, mind/body split way of seeing
>> things. Please refer to George Lakoff and Mark Johnson's Philosophy
>> in the Flesh, or Francisco Varela's The Embodied Mind: Cognitive
>> Science and Human Experience, or Maurice Merleau-Ponty's
>> Phenomenology of Perception, or...
>>
>> All the best
>>
>> David
>>
>> On 3 Oct 2009, at 16:59, Simon Biggs wrote:
>>
>>> It could be asserted that exploring extreme states of mind (as
>>> opposed to
>>> the brain) is standard operating artists procedure (SOAP). The
>>> mind is
>>> arguably an imagined thing and artists routinely seek to imagine it
>>> in its
>>> strangest or most extreme state, whether as something isolated
>>> (mind as
>>> location of the individual) or networked (the mind as instantiation
>>> of the
>>> social being). As an artist I consciously seek to do this,
>>> imagining myself
>>> into a mental state. When it starts to feel dangerous that?s when I
>>> think I
>>> might be getting somewhere.
>>>
>>> There is also a long history of artists who have been regarded as
>>> rather
>>> mad. Whether they were so because they were ill (in conventional
>>> medical
>>> terms ? John Martin, for example - which is deeply problematic for
>>> anyone of
>>> a Foucauldian or Langian persuasion) or pushing their ideas to
>>> extremes
>>> (such that people thought them mad) or simply taking too many drugs
>>> (that
>>> seems to render other people mad).
>>>
>>> Turning back to extreme environments, artists have similarly
>>> explored these,
>>> even when the places they visited were either not that extreme or
>>> were
>>> actually imaginary. Here I am thinking of the Romantics, with
>>> Caspar David
>>> Friedrich or Beethoven seeking to evoke what they felt to be the
>>> sublime
>>> (extreme) in nature and the (extreme) states this transported them
>>> to. There
>>> was no need for them to go to the Moon to achieve this ? although
>>> perhaps in
>>> our over-stimulated society this is the reason artists are seeking
>>> to do
>>> this. They are simply exhibiting our shared symptoms of environmental
>>> disassociation.
>>>
>>> Best
>>>
>>> Simon
>>>
>>>
>>> Simon Biggs
>>>
>>> Research Professor
>>> edinburgh college of art
>>> s.biggs@eca.ac.uk
>>> www.eca.ac.uk
>>>
>>> Creative Interdisciplinary Research into CoLlaborative Environments
>>> www.eca.ac.uk/circle/
>>>
>>> simon@littlepig.org.uk
>>> www.littlepig.org.uk
>>> AIM/Skype: simonbiggsuk
>>>
>>>
>>>
>>> From: roger malina <rmalina@alum.mit.edu>
>>> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
>>> Date: Sat, 3 Oct 2009 17:15:19 +0200
>>> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
>>> Subject: [Yasmin_discussions] artists workng with scientists in
>>> extreme
>>> environments
>>>
>>> yasminers
>>> here is another thought- are extreme environments only
>>> physical/geographical
>>> exploration- or can one also explore extreme mental states ?
>>>
>>> yesterday i was with christian xerri who is a neuroscientist in
>>> marseille
>>> and
>>> jim gimzewksi
>>>
>>> were were discussing the work that xerri does with alzheimers
>>> patients
>>>
>>> christian's work includes looking at ways the brain re organises
>>> itself after trauma
>>>
>>> *Curre*
>>> *Research topics *
>>>
>>> 1. Experience-dependent malleability of somatosensory cortical
>>> maps
>>> during development and maturation.
>>> 2. Postlesion remodeling of somatosensory maps after brain damage.
>>> 3. Spatio-temporal coding of tactile inputs within cortical
>>> networks.
>>> 4. Biochemical and morphological mechanisms involved in
>>> somatosensory map
>>> reorganization.
>>> 5. Elaboration and recognition of haptic and visual forms: a
>>> fMRI study.
>>>
>>> christian's son your is an artist and art therapist and they are
>>> working on
>>> art science collaborations
>>>
>>> xerri's lab has developed interactive software tools that are used
>>> to help
>>> patients with impaired
>>> memory etc
>>>
>>>
>>> a related connection is how humans in extreme environments have
>>> modified
>>> percetion
>>> , i heard a talk by michel marcelin who mentioned that at high
>>> altidue
>>> vision is affected ( see for instance
>>> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>>>
>>> so for the discussion i thought i would introduce the topic of
>>> modification
>>> of mental states
>>> in extrement enviroments, but also extreme zones of mental states
>>> themselves
>>> as part
>>> of this discussion
>>>
>>> roger
>>> _______________________________________________
>>> Yasmin_discussions mailing list
>>> Yasmin_discussions@estia.media.uoa.gr
>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>
>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>
>>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>>> subscribe to. In
>>> the page that will appear ("info page"), enter e-mail address,
>>> name, and
>>> password in the fields found further down the page.
>>>
>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>>> enter your
>>> e-mail address in the last field. Enter password if asked. Click on
>>> the
>>> unsubscribe button on the page that will appear ("options page").
>>>
>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>>> "Set
>>> Digest Mode" option and set it to either on or off.
>>>
>>>
>>> Edinburgh College of Art (eca) is a charity registered in Scotland,
>>> number SC009201
>>>
>>>
>>> _______________________________________________
>>> Yasmin_discussions mailing list
>>> Yasmin_discussions@estia.media.uoa.gr
>>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>>
>>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>>
>>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>>> subscribe to. In the page that will appear ("info page"), enter e-
>>> mail address, name, and password in the fields found further down
>>> the page.
>>>
>>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>>> enter your e-mail address in the last field. Enter password if
>>> asked. Click on the unsubscribe button on the page that will appear
>>> ("options page").
>>>
>>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>>> "Set Digest Mode" option and set it to either on or off.
>>
>> David Haley BA(Hons) MA FRSA
>>
>> Senior Research Fellow
>> Director, A&E [art&ecology] research unit
>> MA Art As Environment Programme Leader
>> SEA: Social & Environmental Arts Research Centre
>> MIRIAD
>> Manchester Metropolitan University
>> Righton Building, Cavendish Street,
>> Manchester M15 6 BG
>>
>> T: +44 (0)161 247 1093
>> F: +44 (0)161 2476870
>> M: 07725 405 365
>> W: www.artdes.mmu.ac.uk/profile/dhaley
>> W: www.miriad.mmu.ac.uk/artandecology
>>
>>
>> "Before acting on this email or opening any attachments you
>> should read the Manchester Metropolitan University's email
>> disclaimer available on its website
>> http://www.mmu.ac.uk/emaildisclaimer "
>>
>>
>>
>>
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>> subscribe to. In
>> the page that will appear ("info page"), enter e-mail address,
>> name, and
>> password in the fields found further down the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>> enter your
>> e-mail address in the last field. Enter password if asked. Click on
>> the
>> unsubscribe button on the page that will appear ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>> "Set
>> Digest Mode" option and set it to either on or off.
>>
>>
>> Edinburgh College of Art (eca) is a charity registered in Scotland,
>> number SC009201
>>
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@estia.media.uoa.gr
>> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>>
>> Yasmin URL: http://www.media.uoa.gr/yasmin
>>
>> HOW TO SUBSCRIBE: click on the link to the list you wish to
>> subscribe to. In the page that will appear ("info page"), enter e-
>> mail address, name, and password in the fields found further down
>> the page.
>>
>> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and
>> enter your e-mail address in the last field. Enter password if
>> asked. Click on the unsubscribe button on the page that will appear
>> ("options page").
>>
>> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the
>> "Set Digest Mode" option and set it to either on or off.
>
> David Haley BA(Hons) MA FRSA
>
> Senior Research Fellow
> Director, A&E [art&ecology] research unit
> MA Art As Environment Programme Leader
> SEA: Social & Environmental Arts Research Centre
> MIRIAD
> Manchester Metropolitan University
> Righton Building, Cavendish Street,
> Manchester M15 6 BG
>
> T: +44 (0)161 247 1093
> F: +44 (0)161 2476870
> M: 07725 405 365
> W: www.artdes.mmu.ac.uk/profile/dhaley
> W: www.miriad.mmu.ac.uk/artandecology
>
>
> "Before acting on this email or opening any attachments you
> should read the Manchester Metropolitan University's email
> disclaimer available on its website
> http://www.mmu.ac.uk/emaildisclaimer "
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 12
> Date: Fri, 02 Oct 2009 16:49:58 +0200
> From: Annick Bureaud <abureaud@gmail.com>
> Subject: Re: [Yasmin_discussions] art in extreme environments
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <4AC61316.1060902@gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> I have just been made aware of this by Amanda
> McDonald Crowley on my Facebook account (she is working at
> Eyebeam in NY and the work of Robert Ransick "Casa Segura"
> wich has been developed during a residency at Eyebeam is
> featured in the book).
>
> Ruth Slavid's new book "Extreme Architecture, Building for
> Challenging Environments". http://bit.ly/vYuWI
>
> Of course, I haven't read it yet. ...
>
> Best
> Annick
> --
>
> ------------------------
> Annick Bureaud (abureaud@gmail.com)
> tel/fax : 33/(0)1 43 20 92 23
> mobile/cell : 33/(0)6 86 77 65 76
> Leonardo/Olats : http://www.olats.org
> -------------------------
>
>
>
>
>
> ------------------------------
>
> Message: 13
> Date: Sun, 04 Oct 2009 11:56:18 +0100
> From: "Simon Biggs" <s.biggs@eca.ac.uk>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in
> extreme environments
> To: "research@sarahjanepell.com, YASMIN DISCUSSIONS"
> <yasmin_discussions@estia.media.uoa.gr>
> Message-ID: <C6EE3DE2.22910%s.biggs@eca.ac.uk>
> Content-Type: text/plain; charset="ISO-8859-1"
>
> Waving or drowning?
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> s.biggs@eca.ac.uk
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> www.eca.ac.uk/circle/
>
> simon@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: Sarah Jane Pell <sarahjanepell@yahoo.com>
> Reply-To: <research@sarahjanepell.com>, YASMIN DISCUSSIONS
> <yasmin_discussions@estia.media.uoa.gr>
> Date: Sat, 3 Oct 2009 21:00:23 -0700 (PDT)
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in extreme
> environments
>
> Of course, I am reminded of artists/divers exploring the sublime depths
> whilst experiencing nitrogen narcosis: the rapture of the deep... ahhhhmmmm
>
> ?www.faqs.org/health/topics/13/Nitrogen-narcosis.html
>
> --- On Sun, 4/10/09, Simon Biggs <s.biggs@eca.ac.uk> wrote:
>
> From: Simon Biggs <s.biggs@eca.ac.uk>
> Subject: Re: [Yasmin_discussions] artists workng with scientists in extreme
> environments
> To: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Received: Sunday, 4 October, 2009, 1:59 AM
>
> It could be asserted that exploring extreme states of mind (as opposed to
> the brain) is standard operating artists procedure (SOAP). The mind is
> arguably an imagined thing and artists routinely seek to imagine it in its
> strangest or most extreme state, whether as something isolated (mind as
> location of the individual) or networked (the mind as instantiation of the
> social being). As an artist I consciously seek to do this, imagining myself
> into a mental state. When it starts to feel dangerous that?s when I think I
> might be getting somewhere.
>
> There is also a long history of artists who have been regarded as rather
> mad. Whether they were so because they were ill (in conventional medical
> terms ? John Martin, for example - which is deeply problematic for anyone of
> a Foucauldian or Langian persuasion) or pushing their ideas to extremes
> (such that people thought them mad) or simply taking too many drugs (that
> seems to render other people mad).
>
> Turning back to extreme environments, artists have similarly explored these,
> even when the places they visited were either not that extreme or were
> actually imaginary. Here I am thinking of the Romantics, with Caspar David
> Friedrich or Beethoven seeking to evoke what they felt to be the sublime
> (extreme) in nature and the (extreme) states this transported them to. There
> was no need for them to go to the Moon to achieve this ? although perhaps in
> our over-stimulated society this is the reason artists are seeking to do
> this. They are simply exhibiting our shared symptoms of environmental
> disassociation.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> s.biggs@eca.ac.uk
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> www.eca.ac.uk/circle/
>
> simon@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: roger malina <rmalina@alum.mit.edu>
> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Date: Sat, 3 Oct 2009 17:15:19 +0200
> To: YASMIN DISCUSSIONS <Yasmin_discussions@estia.media.uoa.gr>
> Subject: [Yasmin_discussions] artists workng with scientists in extreme
> environments
>
> yasminers
> here is another thought- are extreme environments only
> physical/geographical
> exploration- or can one also explore extreme mental states ?
>
> yesterday i was with christian xerri who is a neuroscientist in marseille
> and
> jim gimzewksi
>
> were were discussing the work that xerri does with alzheimers
> patients
>
> christian's work includes looking at ways the brain re organises
> itself after trauma
>
> *Curre*
> *Research topics *
>
> ???1. Experience-dependent malleability of somatosensory cortical maps
> ???during development and maturation.
> ???2. Postlesion remodeling of somatosensory maps after brain damage.
> ???3. Spatio-temporal coding of tactile inputs within cortical networks.
> ???4. Biochemical and morphological mechanisms involved in somatosensory map
> ???reorganization.
> ???5. Elaboration and recognition of haptic and visual forms: a fMRI study.
>
> christian's son your is an artist and art therapist and they are working on
> art science collaborations
>
> xerri's lab has developed interactive software tools that are used to help
> patients with impaired
> memory etc
>
>
> a related connection is how humans in extreme environments have modified
> percetion
> , i heard a talk by michel marcelin who mentioned that at high altidue
> vision is affected ( see for instance
> http://ajplegacy.physiology.org/cgi/pdf_extract/140/3/354 )
>
> so for the discussion i thought i would introduce the topic of modification
> of mental states
> in extrement enviroments, but also extreme zones of mental states themselves
> as part
> of this discussion
>
> roger
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
> Yasmin URL: http://www.media.uoa.gr/yasmin
>
> HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In
> the page that will appear ("info page"), enter e-mail address, name, and
> password in the fields found further down the page.
>
> HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your
> e-mail address in the last field. Enter password if asked. Click on the
> unsubscribe button on the page that will appear ("options page").
>
> HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set
> Digest Mode" option and set it to either on or off.
>
>
> Edinburgh College of Art (eca) is a charity registered in Scotland, number
> SC009201
>
>
> _______________________________________________
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> ------------------------------
>
> Message: 14
> Date: Mon, 5 Oct 2009 23:05:55 +0100
> From: laura cinti <laura@c-lab.co.uk>
> Subject: [Yasmin_discussions] Art, Science, Extreme Environments
> To: yasmin_discussions@estia.media.uoa.gr
> Message-ID:
> <74db9bdc0910051505o228ab393t8589c13a9743c3c3@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Dear Annick, Roger and fellow Yasminers,
>
> Thank you for the interesting discussions.....
>
> I draw parallels between 'wilderness' and the 'extreme' in the sense that
> the construction of 'wilderness' and the concept of 'extreme' does not exist
> as an absolute.
>
> The idea of the 'extreme' is rooted in a human based construction.
> Antarctica is one example of an environment that we consider extreme, yet
> for organisms living in this 'outpost' - our environment is the extreme.
>
> The notion of 'extreme' in its inherited cultural construct prompts
> questions of whether the 'extreme' is out there or a mere reflection of that
> which sits outside our own condition.
>
> To add another trajectory, the notion of intersecting art and science was
> once considered 'extreme'.....'extreme' works well in art, however; when
> 'genuinely' attempting to incorporate scientific narratives, discourses, or
> methods within an artistic context it become less 'extreme' - and acts to
> tame (or neuter).
>
> When we negotiate extreme environments as artists, there is a tendency to
> politicize the landscapes as a residue of humanistic voyage.
> Does extreme environment require humanistic bridges in order for us to
> understand this place?
>
> Lastly, in the context of @rtOutsiders - extreme environments, why do we as
> artists "need" to utilize scientific collaborations to generate discourses
> of the 'extreme'?
>
> Best,
> Laura
>
> --
> Laura Cinti
> c-lab
> w. http://c-lab.co.uk
> e. laura@c-lab.co.uk
>
>
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> End of Yasmin_discussions Digest, Vol 48, Issue 1
> *************************************************

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