Just a quick thanks to Steve Nowlin for organizing this, and for the many thoughtful comments by Yasmin listers. It's clearly a broad and lively topic, and I'm glad to have been able to contribute, albeit very briefly, and to engage in discussions in real time (i.e., face to face!) with some of the participants as well.
All best wishes, and thanks to all,
Dan Lewis
========================
Daniel Lewis, Ph.D.
Dibner Senior Curator, History of Science, Medicine & Technology
& Head, Manuscripts Dept.
The Huntington Library, Art Collections & Botanical Gardens
1151 Oxford Road
San Marino, CA 91108
www.amazon.com/Feathery-Tribe-Robert-Ridgway-Modern/dp/0300175523/
626-405-2206 (direct)
626-449-5720 (fax)
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Tuesday, November 4, 2014
[Yasmin_discussions] closing statement
Fellow Yasminers,
I have thoroughly enjoyed this discussion about the supernatural in
art-science. Thanks to Stephen and Roger for putting it together, and
thanks to all of you for your thoughtful participation. I hope we can
follow up on this topic in the future.
I have just finished reading Stephen Goldblatt's "The Swerve: How the World
Became Modern." This fascinating historical account of the unearthing and
dissemination of Lucretius' "On the Nature of Things" reminded me how
ancient are so many of the roots of modern science - that we are made of
small particles moving around, that assemble and disassemble to form us
just as they form other animals, plants, rocks, and the stars, and that our
lives are finite. But it also reminded me that the Dark Ages that
suppressed that book and its ideas are still with us (on this gloomy
election day in North Carolina, I might add), clouding our understanding of
the nature of things. Greenblatt's book revealed to me what a long journey
this is, coming out from under clouds of superstition and persistent
beliefs in the supernatural. Of course art-science cannot clear those
clouds on its own. For those of us who put our trust in the process and
culture of science, and make or support art that celebrates science, we
need to find allies and join voices, keep working even when it seems
futile, take the long view, and remember we are tugging at some very big
and persistent veils, that may not fall away in our lifetime.
But the main thought I want to leave us with is this: Letting go of
comforting myths, accepting the nature of things so far as we have come to
understand them, trusting the process of evidence-based inquiry to find out
more - for those who are still steeped in the culture of myth, that is a
journey that requires courage. I remain convinced that the courage to
embark on that journey requires the compassion and fellowship of those who
have already traveled that path. Art-science at its best can be a gift of
fellowship, a warm invitation to travel the path of reason, and a
celebration of the wonders of the nature of things, unveiled.
Here's to clarity, and compassion.
With warm regards,
nl
--
*Nancy Lowe*
*Director, Symbiosis Art + Science Alliance*
*http://symbiosisartscience.org <http://symbiosisartscience.org>*
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I have thoroughly enjoyed this discussion about the supernatural in
art-science. Thanks to Stephen and Roger for putting it together, and
thanks to all of you for your thoughtful participation. I hope we can
follow up on this topic in the future.
I have just finished reading Stephen Goldblatt's "The Swerve: How the World
Became Modern." This fascinating historical account of the unearthing and
dissemination of Lucretius' "On the Nature of Things" reminded me how
ancient are so many of the roots of modern science - that we are made of
small particles moving around, that assemble and disassemble to form us
just as they form other animals, plants, rocks, and the stars, and that our
lives are finite. But it also reminded me that the Dark Ages that
suppressed that book and its ideas are still with us (on this gloomy
election day in North Carolina, I might add), clouding our understanding of
the nature of things. Greenblatt's book revealed to me what a long journey
this is, coming out from under clouds of superstition and persistent
beliefs in the supernatural. Of course art-science cannot clear those
clouds on its own. For those of us who put our trust in the process and
culture of science, and make or support art that celebrates science, we
need to find allies and join voices, keep working even when it seems
futile, take the long view, and remember we are tugging at some very big
and persistent veils, that may not fall away in our lifetime.
But the main thought I want to leave us with is this: Letting go of
comforting myths, accepting the nature of things so far as we have come to
understand them, trusting the process of evidence-based inquiry to find out
more - for those who are still steeped in the culture of myth, that is a
journey that requires courage. I remain convinced that the courage to
embark on that journey requires the compassion and fellowship of those who
have already traveled that path. Art-science at its best can be a gift of
fellowship, a warm invitation to travel the path of reason, and a
celebration of the wonders of the nature of things, unveiled.
Here's to clarity, and compassion.
With warm regards,
nl
--
*Nancy Lowe*
*Director, Symbiosis Art + Science Alliance*
*http://symbiosisartscience.org <http://symbiosisartscience.org>*
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Re: [Yasmin_discussions] Closing statement -- with Thanks to Stephen Nowlin
I would also like to thank Stephen for coordinating this fascinating discussion, and for the invitation to participate---also to Roger and everyone who contributed to the discussion over the past few weeks. As an artist, I have been interested in exploring naturalistic and materialistic influences over the supernatural; so these thoughtful responses from the participants have given me a lot to consider as I forge ahead in my own work, and I appreciate the opportunity to be involved in the conversation.
Best to all,
Joe
���������������������������Joseph Klein, DMusDistinguished Teaching ProfessorChair, Division of Composition StudiesUniversity of North Texas College of Music1155 Union Circle #311367Denton, TX 76203-5017(940)565-4926 (ph); (940)565-2002 (fax)Joseph.Klein@unt.eduhttp://www.music.unt.edu/comp/josephklein
________________________________________From: yasmin_discussions-bounces@estia.media.uoa.gr <yasmin_discussions-bounces@estia.media.uoa.gr> on behalf of Ken Friedman <ken.friedman.sheji@icloud.com>Sent: Monday, November 3, 2014 11:50 AMTo: Yasmin YasminSubject: [Yasmin_discussions] Closing statement -- with Thanks to Stephen Nowlin
Friends,
There is nothing I want to add. My closing statement is simply a thanks to everyone for interesting conversations. Thanks especially to Stephen Nowlin for interesting thoughts and productive dialogue.
Warm wishes,
Ken
Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015
Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology | Melbourne, Australia ||| Adjunct Professor | School of Creative Arts | James Cook University | Townsville, Australia ||| Visiting Professor | UTS Business School | University of Technology Sydney University | Sydney, Australia
Email ken.friedman.sheji@icloud.com | Academia http://swinburne.academia.edu/KenFriedman | D&I http://tjdi.tongji.edu.cn
_______________________________________________Yasmin_discussions mailing listYasmin_discussions@estia.media.uoa.grhttp://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
SBSCRIBE: 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").TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
Best to all,
Joe
���������������������������Joseph Klein, DMusDistinguished Teaching ProfessorChair, Division of Composition StudiesUniversity of North Texas College of Music1155 Union Circle #311367Denton, TX 76203-5017(940)565-4926 (ph); (940)565-2002 (fax)Joseph.Klein@unt.eduhttp://www.music.unt.edu/comp/josephklein
________________________________________From: yasmin_discussions-bounces@estia.media.uoa.gr <yasmin_discussions-bounces@estia.media.uoa.gr> on behalf of Ken Friedman <ken.friedman.sheji@icloud.com>Sent: Monday, November 3, 2014 11:50 AMTo: Yasmin YasminSubject: [Yasmin_discussions] Closing statement -- with Thanks to Stephen Nowlin
Friends,
There is nothing I want to add. My closing statement is simply a thanks to everyone for interesting conversations. Thanks especially to Stephen Nowlin for interesting thoughts and productive dialogue.
Warm wishes,
Ken
Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015
Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology | Melbourne, Australia ||| Adjunct Professor | School of Creative Arts | James Cook University | Townsville, Australia ||| Visiting Professor | UTS Business School | University of Technology Sydney University | Sydney, Australia
Email ken.friedman.sheji@icloud.com | Academia http://swinburne.academia.edu/KenFriedman | D&I http://tjdi.tongji.edu.cn
_______________________________________________Yasmin_discussions mailing listYasmin_discussions@estia.media.uoa.grhttp://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
SBSCRIBE: 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").TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
Monday, November 3, 2014
[Yasmin_discussions] Closing statement -- with Thanks to Stephen Nowlin
Friends,
There is nothing I want to add. My closing statement is simply a thanks to everyone for interesting conversations. Thanks especially to Stephen Nowlin for interesting thoughts and productive dialogue.
Warm wishes,
Ken
Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015
Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology | Melbourne, Australia ||| Adjunct Professor | School of Creative Arts | James Cook University | Townsville, Australia ||| Visiting Professor | UTS Business School | University of Technology Sydney University | Sydney, Australia
Email ken.friedman.sheji@icloud.com | Academia http://swinburne.academia.edu/KenFriedman | D&I http://tjdi.tongji.edu.cn
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Sunday, November 2, 2014
Re: [Yasmin_discussions] Concluding Remarks -- The Plight of the Supernatural
Dear Yasminers --
As a way of concluding our discussion about the supernatural, I offer a few final remarks and invite others to do the same.
There is a philosophical argument that the term supernatural can be understood as the name for 'beyond what is knowable.' I understand that agnostic argument, but I doubt its material veracity. In the past, what was unknown and is now known, even if it turned out to be very different than what we had expected or imagined, was naturalized by virtue of our knowing it. This pattern is well established. The concept 'unknowable' is, I think, by definition meaningless.
A more prosaic argument for the meaning of the term supernatural is 'the magical kingdom' which supposedly underlies all material reality. This is the meaning to which the term is wed across multiple cultures, religions, and histories.
Thusly defined, for the last five-hundred years science has been this supernatural's antagonist. And for even longer, art has been this supernatural's image maker. I agree with earlier discussants that those established relationships and their inherent tensions do not fully define the contemporary art-science enterprise. But I maintain that art-science must engage that historic and ongoing tension at least to some degree, as an inescapable and critical part of its discourse. To do otherwise would be for art-science to have naively missed the an important implication of its own practice.
Finally, I conclude with a historical perspective. In Arthur C. Clarke's book and Stanley Kubrick's "2001: A Space Odyssey," a black rectangular monolith was presented as the symbol for a paradigmatic leap forward in human cognitive evolution. (As an aside, the monolith is interesting in light of Minimalism as an avant-garde contemporary art form at the time the book and film were produced. Minimalism is physical, sculptural, and concrete, of this world and not of the pictorial illusionistic world of the imaginary.)
One could say that metaphorically a similar monolith presented itself to the mid nineteenth century in the form of the concept 'abstraction.' Until the middle of that century, aesthetic experience had been largely invested in the illusionistic, pictorial, space of painting -- i.e., representational art. With abstraction and its commensurate decline of a reliance upon illusion to represent reality, world views that had been authorized, enforced, and codified for thousands of years in the fictional space of painting, began to erode. Over several decades, paintings evolved from being windows to an imaginary reality, into being real objects in the same real space as their onlookers. And at that same time, revolutionary discoveries in science were informing the nineteenth century's cultural/intellectual milieu. I maintain that this erosion of illusion in painting that accompanied a movement toward the concrete, symbolized the general decline of confidence in the supernatural brou!
ght about by the advancement of science. The traces of a cognitive change symbolized by art moving from fictional, pictorial space into real space -- the same space that science studies -- can be traced from its origins in the 1800s, through the twists and turns of twentieth century modernism, to the present engagement with art-science in the twenty-first.
These are some ideas embodied in my current exhibition REALSPACE, at the Williamson Gallery, Art Center College of Design, through January 18. http://williamsongallery.net/realspace .
Many thanks to Roger Malina and to the Yasmin list moderators for engaging this difficult and potentially contentious subject of the supernatural, and to the thoughtful and polite writers who contributed over the past few weeks, as well as those who followed the discussion from the sidelines -- this has been a stimulating conversation and I, for one, enjoyed it very much.
/stephen
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TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
As a way of concluding our discussion about the supernatural, I offer a few final remarks and invite others to do the same.
There is a philosophical argument that the term supernatural can be understood as the name for 'beyond what is knowable.' I understand that agnostic argument, but I doubt its material veracity. In the past, what was unknown and is now known, even if it turned out to be very different than what we had expected or imagined, was naturalized by virtue of our knowing it. This pattern is well established. The concept 'unknowable' is, I think, by definition meaningless.
A more prosaic argument for the meaning of the term supernatural is 'the magical kingdom' which supposedly underlies all material reality. This is the meaning to which the term is wed across multiple cultures, religions, and histories.
Thusly defined, for the last five-hundred years science has been this supernatural's antagonist. And for even longer, art has been this supernatural's image maker. I agree with earlier discussants that those established relationships and their inherent tensions do not fully define the contemporary art-science enterprise. But I maintain that art-science must engage that historic and ongoing tension at least to some degree, as an inescapable and critical part of its discourse. To do otherwise would be for art-science to have naively missed the an important implication of its own practice.
Finally, I conclude with a historical perspective. In Arthur C. Clarke's book and Stanley Kubrick's "2001: A Space Odyssey," a black rectangular monolith was presented as the symbol for a paradigmatic leap forward in human cognitive evolution. (As an aside, the monolith is interesting in light of Minimalism as an avant-garde contemporary art form at the time the book and film were produced. Minimalism is physical, sculptural, and concrete, of this world and not of the pictorial illusionistic world of the imaginary.)
One could say that metaphorically a similar monolith presented itself to the mid nineteenth century in the form of the concept 'abstraction.' Until the middle of that century, aesthetic experience had been largely invested in the illusionistic, pictorial, space of painting -- i.e., representational art. With abstraction and its commensurate decline of a reliance upon illusion to represent reality, world views that had been authorized, enforced, and codified for thousands of years in the fictional space of painting, began to erode. Over several decades, paintings evolved from being windows to an imaginary reality, into being real objects in the same real space as their onlookers. And at that same time, revolutionary discoveries in science were informing the nineteenth century's cultural/intellectual milieu. I maintain that this erosion of illusion in painting that accompanied a movement toward the concrete, symbolized the general decline of confidence in the supernatural brou!
ght about by the advancement of science. The traces of a cognitive change symbolized by art moving from fictional, pictorial space into real space -- the same space that science studies -- can be traced from its origins in the 1800s, through the twists and turns of twentieth century modernism, to the present engagement with art-science in the twenty-first.
These are some ideas embodied in my current exhibition REALSPACE, at the Williamson Gallery, Art Center College of Design, through January 18. http://williamsongallery.net/realspace .
Many thanks to Roger Malina and to the Yasmin list moderators for engaging this difficult and potentially contentious subject of the supernatural, and to the thoughtful and polite writers who contributed over the past few weeks, as well as those who followed the discussion from the sidelines -- this has been a stimulating conversation and I, for one, enjoyed it very much.
/stephen
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[Yasmin_discussions] Fwd: supernatural
yasminers
we are trying to bring to a close our discussion on the supernatural
and art/science
and welcome final statements from anyone who has a closing idea to leave us
with
I append the call for papers for the science of consciousness conference which
has been one of the gatherings that brings together an uneasy community
of people who are in one of the territories where the 'supernatural' is often
above the surface
martha blassnig in her closing comments states
"The constantly changing categorisations of knowledge practices have
variously integrated or excluded those experiences that are frequently
gathered under the umbrella of the problematic term ( supernatural) we
are currently
discussing, be it for ideological, political or simply fashionable reasons.
A considerate mobilisation of connected ideas and concerns might shift the
study of these phenomena from the 'safe' grounds of 'cultural ghettos' to
the wider implied cognitive domains and their epistemological implications,
as some previous research has demonstrated (see for example Roger
Luckhurst's work on telepathy)."
indeed the art science area often departs from the 'safe grounds to
the wider and riskier epistemological implications
by coincidence tonight in los angeles david rosenboom is performing his Zones
of Influence work that includes biofeedback from the performers into
computational
algorithms- we arent far from practical telepathy and telekinesis
Zones of Influence (1984-85) is a propositional cosmology activated in music.
Written for percussion virtuoso William Winant, this five-part, concert-length
work for percussion soloist with instruments linked via sensors to
real-time compositional
algorithms that generate electronic sound worlds, noise
constructions, gliding sound
shapes, morphological dynamics that bend melodies in to arrays of counterpoint,
auxiliary keyboard and glissando parts, and more. In Zones of
Influence, models of worlds become instruments.
http://www.davidrosenboom.com/events#Zones of Influence to be
Performed at REDCAT
In 1990 Leonardo published Rosenboom 's monograph on The Extended
Musical Interface
with the Human Nervous System- which fifty years from now may be
viewed as a manifesto
for practival telekinesis and telepathy !!
http://davidrosenboom.com/sites/default/files/media/downloads/MusInter.LEO_.97.final_.w_figs.pdf
Inevitably the Leonardo publications and networked have worked outside
of some of the safe territories-
( after all when leonardo started , art theorists and historians stated
categorically that it was a waste of time to try and do art with
computers , because there
was no way computers could contribute to creative activity)
to quote martha again
"The constantly changing categorisations of knowledge practices have
variously integrated or excluded those experiences that are frequently
gathered under the umbrella of the problematic term ( supernatural)"
the organisers of the science of consciousness state that they
"emphasizing broad and rigorous approaches to the study of conscious awareness"
so perhaps we can also " emphasizing broad and rigorous approaches to
the study of what
is considered supernatural today"
much thanks to yasminers to have kept this discussion out of the easy
polemics !
Roger Malina
TOWARD A SCIENCE OF CONSCIOUSNESS 2015
CALL FOR PAPERS
University of Helsinki, Finland, 9-13 June 2015
Pre-conference workshops: 8 June 2015
http://www.helsinki.fi/tsc2015
Submission deadline: 30 November 2014
Toward a Science of Consciousness (TSC) is the largest and
longest-running interdisciplinary conference emphasizing broad and
rigorous approaches to the study of conscious awareness. Topical
areas include neuroscience, philosophy, psychology, biology, quantum
physics, meditation and altered states, machine consciousness, culture
and experiential phenomenology. Cutting edge, controversial issues are
emphasized. Held annually since 1994, the TSC conferences alternate
yearly between Tucson, Arizona (Center for Consciousness Studies,
Univ. of Arizona) and various locations around the world.
The University of Helsinki is proud to host TSC 2015 in the Great Hall
of its neoclassical main building located in the downtown area.
TSC 2015 invited speakers:
Patricia S. Churchland | David Chalmers | Harald Atmanspacher | Susan
Blackmore | Peter Bruza | Deepak Chopra | Travis Craddock | Rocco
Gennaro | Stuart Hameroff | Riitta Hari |
John Heil | Jaakko Hintikka | James Ladyman | Steven Jay Lynn | Ariane
Lambert-Mogiliansky | George Mashour | Alyssa Ney | David Papineau |
Antti Revonsuo | William Seager |
Petra Stoerig | Jennifer Windt | Dan Zahavi | and more to be announced
TSC 2015 calls for contributed papers, contributed posters,
contributed symposia and proposals for pre-conference workshops. The
list of conference topic areas is on the conference
webpage:http://www.helsinki.fi/tsc2015/topics.html
Contributed papers: Please submit an abstract of 300-500 words
prepared for anonymous review.
Accepted contributed papers will be allocated in total 25-30 minutes
(20 min for the presentation + 5-10 min for the discussion).
Contributed posters: Please submit an abstract of 300-500 words
prepared for anonymous review. Accepted contributed posters will be
presented in separate poster sessions during the conference.
Contributed symposia: Please submit an abstract of max. 1000-2000
words. The contributed symposia proposals are not reviewed
anonymously.
Abstracts should be submitted by using the TSC 2015 registration form:
http://tinyurl.com/TSC2015.
Please note that the abstracts cannot be revised after submitting.
All questions regarding submissions should be directed to the
conference manager, tsc-2015@helsinki.fi
The members of the programme committee and the local organizing
committee are listed on this website:
http://www.helsinki.fi/tsc2015/organizers.html
The conference is organized in collaboration with the
Center for Consciousness Studies, University of Arizona, Tucson:
http://www.consciousness.arizona.edu
and Department of Cognitive Neuroscience and Philosophy, University of
Skovde, Sweden:
http://www.his.se/en/Research/Systems-Biology/Kognitiv-Neurovetenskap-och-Filosofi/
Paavo Pylkkanen (chair of the local organizing committee)
Tuomas Tahko (co-chair of the local organizing committee)
Ms. Paivi Seppala: tsc-2015@helsinki.fi
Important dates
30 November 2014 Deadline for abstract submissions
22 January, 2015 Conference registration opens
30 January, 2015 Notifications of acceptance
February 2015 Preliminary programme announced
31 March, 2015 Deadline for early registrations
19 May, 2015 No more refunds for registration cancellations
8 June, 2015 Pre-conference workshops
9-13 June, 2015 TSC 2015, University of Helsinki
________________________________
Sincerely,
Abi Behar Montefiore, center@u.arizona.edu
Asst. Dir, Center for CONSCIOUSNESS STUDIES
Univ. of Arizona, Dept. of Anesthesiology
POB 245114, Tucson, AZ 85724-5114
tel. 520.! 621-9317 cell/text 520.247.5785
--
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we are trying to bring to a close our discussion on the supernatural
and art/science
and welcome final statements from anyone who has a closing idea to leave us
with
I append the call for papers for the science of consciousness conference which
has been one of the gatherings that brings together an uneasy community
of people who are in one of the territories where the 'supernatural' is often
above the surface
martha blassnig in her closing comments states
"The constantly changing categorisations of knowledge practices have
variously integrated or excluded those experiences that are frequently
gathered under the umbrella of the problematic term ( supernatural) we
are currently
discussing, be it for ideological, political or simply fashionable reasons.
A considerate mobilisation of connected ideas and concerns might shift the
study of these phenomena from the 'safe' grounds of 'cultural ghettos' to
the wider implied cognitive domains and their epistemological implications,
as some previous research has demonstrated (see for example Roger
Luckhurst's work on telepathy)."
indeed the art science area often departs from the 'safe grounds to
the wider and riskier epistemological implications
by coincidence tonight in los angeles david rosenboom is performing his Zones
of Influence work that includes biofeedback from the performers into
computational
algorithms- we arent far from practical telepathy and telekinesis
Zones of Influence (1984-85) is a propositional cosmology activated in music.
Written for percussion virtuoso William Winant, this five-part, concert-length
work for percussion soloist with instruments linked via sensors to
real-time compositional
algorithms that generate electronic sound worlds, noise
constructions, gliding sound
shapes, morphological dynamics that bend melodies in to arrays of counterpoint,
auxiliary keyboard and glissando parts, and more. In Zones of
Influence, models of worlds become instruments.
http://www.davidrosenboom.com/events#Zones of Influence to be
Performed at REDCAT
In 1990 Leonardo published Rosenboom 's monograph on The Extended
Musical Interface
with the Human Nervous System- which fifty years from now may be
viewed as a manifesto
for practival telekinesis and telepathy !!
http://davidrosenboom.com/sites/default/files/media/downloads/MusInter.LEO_.97.final_.w_figs.pdf
Inevitably the Leonardo publications and networked have worked outside
of some of the safe territories-
( after all when leonardo started , art theorists and historians stated
categorically that it was a waste of time to try and do art with
computers , because there
was no way computers could contribute to creative activity)
to quote martha again
"The constantly changing categorisations of knowledge practices have
variously integrated or excluded those experiences that are frequently
gathered under the umbrella of the problematic term ( supernatural)"
the organisers of the science of consciousness state that they
"emphasizing broad and rigorous approaches to the study of conscious awareness"
so perhaps we can also " emphasizing broad and rigorous approaches to
the study of what
is considered supernatural today"
much thanks to yasminers to have kept this discussion out of the easy
polemics !
Roger Malina
TOWARD A SCIENCE OF CONSCIOUSNESS 2015
CALL FOR PAPERS
University of Helsinki, Finland, 9-13 June 2015
Pre-conference workshops: 8 June 2015
http://www.helsinki.fi/tsc2015
Submission deadline: 30 November 2014
Toward a Science of Consciousness (TSC) is the largest and
longest-running interdisciplinary conference emphasizing broad and
rigorous approaches to the study of conscious awareness. Topical
areas include neuroscience, philosophy, psychology, biology, quantum
physics, meditation and altered states, machine consciousness, culture
and experiential phenomenology. Cutting edge, controversial issues are
emphasized. Held annually since 1994, the TSC conferences alternate
yearly between Tucson, Arizona (Center for Consciousness Studies,
Univ. of Arizona) and various locations around the world.
The University of Helsinki is proud to host TSC 2015 in the Great Hall
of its neoclassical main building located in the downtown area.
TSC 2015 invited speakers:
Patricia S. Churchland | David Chalmers | Harald Atmanspacher | Susan
Blackmore | Peter Bruza | Deepak Chopra | Travis Craddock | Rocco
Gennaro | Stuart Hameroff | Riitta Hari |
John Heil | Jaakko Hintikka | James Ladyman | Steven Jay Lynn | Ariane
Lambert-Mogiliansky | George Mashour | Alyssa Ney | David Papineau |
Antti Revonsuo | William Seager |
Petra Stoerig | Jennifer Windt | Dan Zahavi | and more to be announced
TSC 2015 calls for contributed papers, contributed posters,
contributed symposia and proposals for pre-conference workshops. The
list of conference topic areas is on the conference
webpage:http://www.helsinki.fi/tsc2015/topics.html
Contributed papers: Please submit an abstract of 300-500 words
prepared for anonymous review.
Accepted contributed papers will be allocated in total 25-30 minutes
(20 min for the presentation + 5-10 min for the discussion).
Contributed posters: Please submit an abstract of 300-500 words
prepared for anonymous review. Accepted contributed posters will be
presented in separate poster sessions during the conference.
Contributed symposia: Please submit an abstract of max. 1000-2000
words. The contributed symposia proposals are not reviewed
anonymously.
Abstracts should be submitted by using the TSC 2015 registration form:
http://tinyurl.com/TSC2015.
Please note that the abstracts cannot be revised after submitting.
All questions regarding submissions should be directed to the
conference manager, tsc-2015@helsinki.fi
The members of the programme committee and the local organizing
committee are listed on this website:
http://www.helsinki.fi/tsc2015/organizers.html
The conference is organized in collaboration with the
Center for Consciousness Studies, University of Arizona, Tucson:
http://www.consciousness.arizona.edu
and Department of Cognitive Neuroscience and Philosophy, University of
Skovde, Sweden:
http://www.his.se/en/Research/Systems-Biology/Kognitiv-Neurovetenskap-och-Filosofi/
Paavo Pylkkanen (chair of the local organizing committee)
Tuomas Tahko (co-chair of the local organizing committee)
Ms. Paivi Seppala: tsc-2015@helsinki.fi
Important dates
30 November 2014 Deadline for abstract submissions
22 January, 2015 Conference registration opens
30 January, 2015 Notifications of acceptance
February 2015 Preliminary programme announced
31 March, 2015 Deadline for early registrations
19 May, 2015 No more refunds for registration cancellations
8 June, 2015 Pre-conference workshops
9-13 June, 2015 TSC 2015, University of Helsinki
________________________________
Sincerely,
Abi Behar Montefiore, center@u.arizona.edu
Asst. Dir, Center for CONSCIOUSNESS STUDIES
Univ. of Arizona, Dept. of Anesthesiology
POB 245114, Tucson, AZ 85724-5114
tel. 520.! 621-9317 cell/text 520.247.5785
--
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Yasmin URL: http://www.media.uoa.gr/yasmin
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Saturday, November 1, 2014
[Yasmin_discussions] [Yasmin-discussions] The Plight of the Supernatural... taking experience seriously
Dear discussants,
I appreciate Roger's and Dan's reminders of the dialogic, the need for
tolerance in face of the 'untranslatable' and challenges of diversity,
especially in the context of the varieties of cultural appreciations of
phenomena ('culture' in the widest sense i.e. shared ideas, etc.).
In this discussion so far the term 'super-natural' has featured in several
disguises some more dominant than others; e.g. as concept associated with
the unknowable, with belief, as politically/ideologically instrumentalised
domain, as the untranslatable...
One of the aspects widely associated with phenomena that have frequently
been summoned under the term 'super-natural' which has had more of a
dormant presence so far is the domain of experience, although the notions
of awe and the sublime would in some sense fall within this area.
What had initially attracted me to the choice of cultural anthropology as
main subject of academic study in combination with philosophy were indeed
the political implications of the resistance to uniformity in the
respectful acknowledgement of diversity in pursuit of the very basic
questions around what it means to be human (and else and other) on this
planet/planetary system during the particular transitions and contingencies
of time. What anthropology had and still has to tell is how different ways
of knowing, as Roger already referred to, have their roots in experiences
and best practices which change over and with time, contingent within the
manifold contextual interactions, but also, and which I would like to
emphasise, as they are consciously and pro-actively enacted, reenacted,
resisted and continuously transformed (individually and collectively).
The constantly changing categorisations of knowledge practices have
variously integrated or excluded those experiences that are frequently
gathered under the umbrella of the problematic term we are currently
discussing, be it for ideological, political or simply fashionable reasons.
A considerate mobilisation of connected ideas and concerns might shift the
study of these phenomena from the 'safe' grounds of 'cultural ghettos' to
the wider implied cognitive domains and their epistemological implications,
as some previous research has demonstrated (see for example Roger
Luckhurst's work on telepathy).
Martha
_______________________________________________
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
SBSCRIBE: 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").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
I appreciate Roger's and Dan's reminders of the dialogic, the need for
tolerance in face of the 'untranslatable' and challenges of diversity,
especially in the context of the varieties of cultural appreciations of
phenomena ('culture' in the widest sense i.e. shared ideas, etc.).
In this discussion so far the term 'super-natural' has featured in several
disguises some more dominant than others; e.g. as concept associated with
the unknowable, with belief, as politically/ideologically instrumentalised
domain, as the untranslatable...
One of the aspects widely associated with phenomena that have frequently
been summoned under the term 'super-natural' which has had more of a
dormant presence so far is the domain of experience, although the notions
of awe and the sublime would in some sense fall within this area.
What had initially attracted me to the choice of cultural anthropology as
main subject of academic study in combination with philosophy were indeed
the political implications of the resistance to uniformity in the
respectful acknowledgement of diversity in pursuit of the very basic
questions around what it means to be human (and else and other) on this
planet/planetary system during the particular transitions and contingencies
of time. What anthropology had and still has to tell is how different ways
of knowing, as Roger already referred to, have their roots in experiences
and best practices which change over and with time, contingent within the
manifold contextual interactions, but also, and which I would like to
emphasise, as they are consciously and pro-actively enacted, reenacted,
resisted and continuously transformed (individually and collectively).
The constantly changing categorisations of knowledge practices have
variously integrated or excluded those experiences that are frequently
gathered under the umbrella of the problematic term we are currently
discussing, be it for ideological, political or simply fashionable reasons.
A considerate mobilisation of connected ideas and concerns might shift the
study of these phenomena from the 'safe' grounds of 'cultural ghettos' to
the wider implied cognitive domains and their epistemological implications,
as some previous research has demonstrated (see for example Roger
Luckhurst's work on telepathy).
Martha
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
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Yasmin URL: http://www.media.uoa.gr/yasmin
SBSCRIBE: 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").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
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