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
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> 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
>
>
> _______________________________________________
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> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
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>
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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.
>
> 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: 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
>
>
> _______________________________________________
> 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.
>
>
>
>
> ____________________________________________________________________________
> ______
> Get more done like never before with Yahoo!7 Mail.
> Learn more: http://au.overview.mail.yahoo.com/
> _______________________________________________
> 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: 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
>
>
> ------------------------------
>
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@estia.media.uoa.gr
> http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
>
>
> End of Yasmin_discussions Digest, Vol 48, Issue 1
> *************************************************
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