etc., from your practice. It is interesting to consider this feedback
loops in relation to simulating the, empathy, sympathy, inner
knowledge, intuition and instincts.
Let's consider the idea behind the 'Conference Biofeedback' project -
we have an individual transferring the data to a collective – we start
with one outsider communicating to many that are at the beginning
uncorrelated yet by default already the insiders of the group. The
outer data transferral triggers inner processes within the individuals
of the group. When the lecturer receives the output of the
biofeedback data he/she must adjusts the inner processes to regulate
the inner processes of the group. If the lecturer succeeds in
regulation there arises awareness of attention within the group,
individuals correlate, form collective behaviour. Not only that! The
lecturer is now accepted as the insider – with access to knowledge of
the group's inner processes. In the extreme there is no more
fragmentation, the group is undivisible whole where the knowledge is
directly accessible.
In a way this is what Bergson had in mind by disengaging from one's
particular rhythm in order to access rhythms others than our own as I
wrote the last time.
Could then this action reaction of a feedback loop be the first step
for realizing the model of enaction we were discussing? If we compare
the chart of the enaction model I shared the last time (and sum up
bellow) to the model of a lecture what can we infer?
If a typical lecture is the transferral of data on the outside, to
optimise the lecture via 'Conference Biofeedback' gadget the goal is
to trigger a response from the inside. In the extreme – with
'Conference Enaction' gadget to allow for a direct transference of
data from within.
then 'cognition is ongoing interaction within the medium'
then 'world is presentable through action'
then 'mind and world are enacted in history of interactions'
and 'mind is inseparable from world'
(from the chart)
Ziva Ljubec
> Date: Tue, 25 Jan 2011 10:55:12 +0100
> From: "xDxD.vs.xDxD" <xdxd.vs.xdxd@gmail.com>
> Subject: Re: [Yasmin_discussions] Around Simulation II - Simulated
> Senses and the Un-Simulatable
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
> <AANLkTi=aHC7LFy7awrV+3ZBMFOz0rZZCzwkFyAmtzquC@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> hello all!
>
> On Fri, Jan 21, 2011 at 11:17 PM, Jennifer Kanary Nikolov(a)
> <jenniferkanary@yahoo.com> wrote:
>>
>> What about death in literature, death in imagination, is that a form of
>> simulation? If imagination is a form of simulation, then the limits of the
>> un-simulatable might be found there?
>
> and maybe death and after death can be imaginatively simulated, after
> all, like in
>
> http://www.artisopensource.net/2008/01/15/dead-on-second-life/
>
> in which 3 artificial intelligences, fed with the original texts that
> Karl Marx, Franz Kafka and Coco Chanel left us, have been embodied in
> autonomous avatars on Second Life (walking around, choosing who/what
> to interact with, etc completely on their own, according to
> behavioural algorithms built around the characters' personality).
>
> This is a kind of simulation that interested me a lot, as it sits
> across the formal dimensions of systems theory and the poetical
> re-enactment of processes (or people! :) ): while there is a formal,
> scientific based approach in the design and definition of the systems
> defining behaviour and expression of the re-embodied-avatars, there
> also is the suggestion of how people never, actually, die, continuing
> their lives in the memories, imaginaries, sensations of the people who
> knew them (and this is actually a really complex and totally
> insightful simulation of a human being).
>
> In more than one way they are completely alive, not dead, living in a
> continuous multi-authored simulation based on the "material" (texts,
> experiences, relationships...) that they left behind, and on a
> multitude of interpretations.
>
> ciao!
> salvatore
>
>
> ------------------------------
>
> Message: 5
> Date: Tue, 25 Jan 2011 11:10:16 +0100
> From: "xDxD.vs.xDxD" <xdxd.vs.xdxd@gmail.com>
> Subject: Re: [Yasmin_discussions] Around Simulation II - Simulated
> Senses and the Un-Simulatable
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
> <AANLkTik7ZJuT7=gYzyi-LHUPFtVPkc5Kkgnq9_eerec_@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> hello roger and all,
>
> On Sat, Jan 22, 2011 at 12:35 PM, roger malina <rmalina@alum.mit.edu> wrote:
>> I would like to make the assertion that relying on digital simulations
>> is creating
>> a situation where we focus primarily on processes that are theoretically
>> simulatable or computable=
>> ?whereas there are many other processes that are just not
>> simulatable and there is a danger that we are developing huge blind spots
>> (similarly there are parts of the universe that are theoretically unobservable
>> eg the interior of a black hole, or the universe further away than
>> light could travel since the birth of the universe)
>>
>> the work of artists , with its emphasis on triggering subjective
>> experience.and exploitation of phenomena that may be unsimulatable may
>> open up interesting
>> areas of research that computer scientists are not focused on
>>
>> are there any examples ?
>
>
> we need cognitive scientists or/and some more anthropologists! :)
>
> as this is a problem that is truly similar to the international
> discussion on "how do we go beyond ethnographical writing?"
>
> or: anthropological reports are an incomplete simulation. They
> represent the point of view of the anthropologist and, in that, they
> are, allow me to make it simple, novels. With that i do not mean that
> they "are not good", i just mean that they are "incomplete", as we
> know since the works of Mead and Bateson that "completeness" is a
> concept that is somewhat awkward to define, and probabily the key to
> describing it is to let it describe itself, by not trying to define it
> and by finding ways in which the multiplicity of voices and
> perceptions, and the network of relations, and their evolution in time
> and space can express themselves. And also getting ready to accept
> that a "system" (self-)described in this way is not coherent, static,
> or objective. As roger said: there is not shortcut.
>
> yet again the most interesting parts (for me, obviously :) )of the
> scientific research in this field are those that are creating a
> short-circuit between "the map and the territory", by using the
> territory (and its inhabitants, and cultures, and relations, and
> expressions...) as the map itself through technologies that allow both
> reading, writing and interpreting the world in its "entirety" (at
> least theoretically, as it would require *everything/everyone* to be
> technologically connected). In this perspective: the simulation of the
> system is the system itself and, thus, can become simulatable.
>
> ciao!
> s
>
>
>
> ------------------------------
>
> Message: 6
> Date: Tue, 25 Jan 2011 12:04:50 +0100
> From: "xDxD.vs.xDxD" <xdxd.vs.xdxd@gmail.com>
> Subject: Re: [Yasmin_discussions] Around Simulation II - Simulating
> Empathy and Subjective Experience
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Message-ID:
> <AANLkTi=1iEV=yHetKZJiWdcj6nBaxg6EmUU=xS0E7U5r@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> hello jennifer and everyone!
>
>> How our senses dance a dance of signals that triggers our neurons. If we know
>> how it is evoked in brains with the use of technology, we will learn more about
>> how to evoke it in computers. In particular from the view that we are all
>> jiggling atoms ;) How to make my Avatar/Robot feel? How to put the Gaia in the
>> world of my Avatar/Robot?
>
> here come some suggestions from my own practice in arts+science. hope
> you find them interesting for your research.
>
> http://www.artisopensource.net/2006/12/21/talkers-performance/
> in the Talkers performance, the body of a dancer is connected to a
> stimulation system that enacts a grammar made of electrical
> stlimulation signals that are conveyed to the body of the dancer to
> "write" on it the expressions of the audience, as sensed through a
> series of online and live mechanisms and interfaces.
> These mechanisms are the controls (parameters) defining the life of a
> digital life form that expresses itself through generative language
> and emotional expressions whose algorithms work through the realtime
> contents of social networks. The body of the dancer becomes a
> "display" for the simulation, re-mediating the body with the
> digital-emotions and generative-linguistic-expressions of the digital
> being.
>
>
> http://www.artisopensource.net/OneAvatar/
> OneAvatar simulates the senses of an avatar on Second Life on a
> physical human-body.
> Created as a game in the virtual world of Second Life (and then on a
> series of additional platforms), OneAvatar is a suit that connects the
> body of the human to the digital-body of an avatar, allowing the human
> to "feel" the digital-perceptions of the avatar through a series of
> electrical and haptic stimuli.
> OneAvatar has since become an open source platform that can be used to
> build simulations that involve digital-life-forms and mapping them
> onto a human body.
> The human body becomes the medium for a simulation for researching
> digital emotions and perceptions, as well as the cybernetic systems
> built by interconnecting human body to digital body.
>
> http://www.artisopensource.net/2008/01/15/dead-on-second-life/
> i already mentioned Dead on Second Life in the other message, and i
> will put it here only for the sake of completeness: famous dead human
> beings are simulated in virtual worlds through autonomous avatars led
> by artificial intelligence and behavioural algorithms. A scientific
> simulation and an artistic metaphor on the continuous simulation of
> people constantly taking place in our cognitive processes through
> their words, images, relationships.
>
> http://www.artisopensource.net/2009/12/05/conference-biofeedback/
> Conference Biofeedback creates in real time a simple model of the
> emotional state of the audience of a lecture, and describes it to the
> lecturer by means of sensorial stimuli directly on his/her body.
>
>
> and, by the way, here's a picture of me wearing a primordial version
> of Conference Biofeedback for my conference at Consciousness Reframed
> in Munich, together with Pier Luigi
> http://www.artisopensource.net/network/artisopensource/wp-content/uploads/2009/11/confbiofeedback.jpg
> (not many electrical shocks received in that occasion :) )
>
> ciao!
> s
_______________________________________________
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.
