yasminers,
Sorry for
the long time since my last post, but I'm reading your interesting posts!!
I wanted to
answer to Natasha, Pier and Derrick, about exploration of the world(s) and mirror ideas of simulation...
Cyberspace
is simulated territory which we can
explore with virtual identity that can
be our name (like in facebook) or a false one (nick name), but the common
identity is our human brains and souls
as "internet users". In this territory we can find MUVE's territory such as
Second Life.
In this virtual
world, we can have our hyperterritory that we can buy and sell it…
This hyperterritory
is a virtual place for habitation of the avatar, he can have a collective
identity such as in groups, being in an institutional space dominated by a
power (owner) and limited by borders (lands), realized limits (Sims of SL). These
lands are populated, exploited and
productive spaces; we can mention here the micropayment and the economy of SL
goods (www.xstreetsl.com). They can be also functional spaces
organized by networks, meshed and organized into a hierarchy such as in groups;
we can find the owner, members, officers, etc... Only the owner can define the role
of each avatar in the group and his limits to rezz his objects on the land…
In each
hyperterritory, we can find many objects that belong to different avatars,
these objects are 3D virtual creations that can be like canvas for painters or
the matter for the sculptor and the Sl interface can present tools for modeling
or drawing…
As Pier[1]
had mentioned in his article about simulation that:
"The computer programs for writing and
desktop publishing simulate the paper page, the typewriter's organization and
the characters' disposition. The 2D applications for painting or drawing
simulate the canvas, the tools and the effects of the painting/drawing
techniques."
[1] http://www.noemalab.org/sections/ideas/ideas_articles/capucci_simulation_global_resource.html
So, building techniques and tools can
simulate tools of masons and construction techniques of building and so they
can be simulating tools for architects and decorators to make their models.
Either it's a good tool for designers to make their models of furniture and
clothes…
In SL cyberterritories, each avatar has
its own objects/art creations that can be a sub-territory on which it can apply
its own laws, organize his space and give the perms limitations in areas such
change, transfer and copy. By
this way, each art creation in the sub-cyberterritory has an identity and can
be authenticated by its belonging to that avatar.
Art creation in SL is a simulation of the real
one, unlike the digital work that exists anywhere on the web without being
authenticated.
I can mention Moya Island in which the
fench artist Patrick Moya puts his name on allover his artworks to have a full
governance of his territory.
http://studiomoya.com/sltourisme.htm
So, I can use this argument also for
mirror worlds like Twinity, that can be the mirror image of real territories…
Then exploring these territories and sub-territories is like to be a simulation
of tourism in real ones J
We can find these miror worlds in SL as virtual lands that reflects the image of real one, so we can say at this point that avatars hyperterritories can simulate real life such as in Second Life...
--- En date de : Ven 12.2.10, Pier Luigi Capucci <plc@noemalab.org> a écrit :
De: Pier Luigi Capucci <plc@noemalab.org>
Objet: Re: [Yasmin_discussions] Around Simulation - A Final Thought
À: "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
Date: Vendredi 12 Février 2010, 17h40
Dear Natasha,
thank you for your inspiring post, which emphasizes the importance of art and artists, so arriving / returnunig to the starting and (maybe) the final point of our discussion.
Sharing your interests in "future humans, bio-synthetic life, NBIC enhancement, and radical life extension", yes, I think with you it should be important to go through some kind of theory of simulation.
Best,
Pier Luigi
Il giorno 11/feb/2010, alle ore 19.02, Natasha Vita-More ha scritto:
> "We shall not cease from exploration
> And the end of all our exploring
> Will be to arrive where we started
> And know the place for the first time."
>
> Thus wrote T.S. Eliot [1] in "Little Gidding", No. 4 of Four Quartets
> (1968).
>
> In a world of artistic exploration which takes the artist from the beginning
> of a body of work and around and back to that beginning, it is also the
> observer who travels together with the body of art itself. This links to
> the cybernetics of cybernetics (second order) and to the double-bind theory
> of Gregory Bateson. In Mind and Nature: A Necessary Unity (1979), Bateson
> addresses the patterns that connect us to each other and the environment in
> an ecology of thinking that locates the patterns of thinking about thinking.
>
> Which is the real you, the real environment, the real situation, and which
> interpretation, of many interpretations, holds current and significant value
> for your duration in real time or simulated time-space?
>
> The interdependency of actions and actors do matter because, as artists, we
> address them each and every moment. There is no need to quantify a truth
> within them, for that is left to the hard sciences. Yet, we engage a
> certain truth in large part by emotive-driven reasoning and truth is
> fundamental to aesthetics in a rational investigation about life and meaning
> wherein truth is borne.
>
> Simulation has truth, even if its realization is momentary, simply because
> it occurs. Theorizing elements of the occurrence is secondary to the
> immediacy of the experience. Nevertheless, it is the theory of simulation
> that is necessary in an age where alternative universes and synthetic
> systems are suggested to contain personal existence of many types and forms
> of life-biologically derived or otherwise.
>
> To those of us interested in future humans, bio-synthetic life, NBIC
> enhancement, and radical life extension, these issues have great
> significance because the mind/body of neuroscience and simulation are
> getting married and witnessing their union is something that "every
> school.[person] should know" (Bateson). Regardless of the face that the
> Blue Brain [2] simulation is working slowly (and hopes to self-assemble
> neurons to function like a biological brain), attention to relationships of
> neuroscience and simulation affects artistic practice working with
> simulation.
>
> In the biological brain, a simulation is created by interacting neurons.
> Yet, neuroscience "does not know everything there is to know about neurons".
> [3] Nevertheless projects like the Blue Brain involve brain/mind simulation
> which could undoubtedly help to understand the fundamental principles of the
> brain and the visual and semantics of the mind of memory and cognitive
> projection. [4] A future exobody neocortex as a connective human mind could
> modify biological prerequisites with bio-synthetic structure in
> designing/forming experiences.
>
> The necessary unity of mind and nature, real-time experience and simulation
> are crucially intertwined. This is an area forthcoming and one which has
> unyielding potential for the simulation of simulation.
>
> [1] T.S. Eliot received the Nobel Prize for Literature. He was the second
> person in recorded time to have referred to transhumanization of humanity in
> his comedy "The Cocktail Party", concerning human behavior and which is
> linked to Alighieri Dante's use of transumanar in the Divine Comedy.
> [2] Noah Sutton's documentary on Markram's Blue Brain Project
> http://thebeautifulbrain.com/2010/02/bluebrain-film-preview/
> [3] John Clark (Extropy chat email list]
> [4] http://seedmagazine.com/content/article/out_of_the_blue/P1/
>
>
> Natasha Vita-More
--
Pier Luigi Capucci
e-mail: plc@noemalab.org
web: http://www.noemalab.org/plc/plc.html
skype: plcapucci
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