thanks you so much for pinpointing the idea that "simulation is one of the functions of imaginery", an individual and both a social tool. And thanks for suggesting the shift from a "representationalist imaginery" to a "performativist imaginery" as a possible simulation's evolution which involves the body's experience in a wider way.
This perspective seems recalling the theatre (and the performance), and in general the media - the technological media - which require a wide body's involvement. The body into the symbols, the body which can manipulate the simbols. I think this is an important acquisition to humanity.
In this field art has experimented, you write, the "embodied experience of the images, through the simulation of the body", mainly using virtual reality. In the metaverses, like Second Life, we find, although very simplified, some of the bodily issues which are in virtual reality environments. Anyway in the metaverses the use of the the avatars raises different topics about the body's representation, simulation and "presence".
Best,
Pier Luigi
Il giorno 04/feb/2010, alle ore 18.47, Laura Gemini ha scritto:
> Dear Yasminers,
>
> I have been reading the posts, in a foreign language, wondering if I
> understand well all the issues. Anyway what I can see, starting from my
> interests, is a sort of a triple point of view of the topic "simlation".
>
> As far as I'm concerned simulation regards: 1. epistemology; 2. imaginery;
> 3. art.
>
> 1. From the epistemological point of view I'd say that the shift from a
> first order cybernetic to the second order cybernetic let us treat the
> simulation, first, as a problem of the representation of reality (realistic
> and positivistic science in a modern society) and secondly as a
> costruttivistic issue. Reality is built by an observer (von Foerster) also
> thanks to the simulation. So, the simulation is a process that can foresee
> but also build, figure, experiment one world and the possibilities of the
> experience and behaviour (I read something interesting about this in a
> previous post).
>
> 2. So, the simulation seems to me a matter of the individual and collective
> imaginery. Or better: the simulation is one of the functions of imaginery
> (seen, with G. Durand, as the communication through the images and domain of
> the symbolic).
>
> Through the imaginery the simulation is the "practical" way to figure, think
> and imagine the things. So imaginery is a quality of the individual - which
> is symbolic (and the symbolic is the nature of the human beings, answering
> to Pier Luigi) – and it's a social quality spread by the media.
>
> Here we can observe again the epistemological shift which can be read as a
> transition from a representationalist imaginery to a performativist
> imaginery (actually I found out in this debate, with pleasure, an author sa
> Karen Barad - named by F. Timeto - that I never known earlier!).
>
> In the context of the representationlist imaginery the simulation can lead
> to the idea of experience as experience through images (symbolic
> representations). Here the observer is external to the observed reality (as
> in the theatre for example).
>
> In the frame of the performativist imaginery, on the contrary, the
> simulation is concerned with reality as a product of the observer which is
> part of the observed reality, who is object of his/her observation. The
> observer is within, not external.
>
> Here the experience is experience of the images through the body: embodied
> knowledge (Maturana and Varela).
>
> 3. In these terms art updates removed possibilities, produces new forms
> (Luhmann) and it can do this through the performing quality of the
> simulation. We can think about famous art works as *Osmose*, by C. Davies
> or, more recently, *Wave Ufo* by Mariko Mori or, in several cases of the
> artistic research in the live performance: the simulation/enaction of words
> is concerned with the embodied experience of the images, through the
> simulation of the body.As it happens, in a more clearly way, in the online
> worlds, as SL for example, where the body, thanks to the simulation of the
> body-avatar – makes experiences of an environment (Wafa Bourkhins in this
> list). But here there's a film as Avatar to mark a further step beyond…
>
> Bests
>
> Laura
>
> --
> Laura Gemini
> Lab. LaRiCA - Facoltà di Sociologia
> Un. degli Studi di Urbino "Carlo Bo"
> Dipartimento di Scienze delle Comunicazione. Media, linguaggi, spettacolo
> Via Saffi 15 - 61029 Urbino (PU)
> +39 0722 305726
> http://incertezzacreativa.wordpress.com
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--
Pier Luigi Capucci
e-mail: plc@noemalab.org
web: http://www.noemalab.org/plc/plc.html
skype: plcapucci
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