What happens when humans and birds engage each other through a collaboration-as-fantasy mediated by computers? Could such an exercise be modelled in a way that helps us to transcend the techno-ocularcentric fetishes for precision and certainty which demarcate our time? From Edgar Wind’s notion of 'incarnation' – as the place where empirical experience and metaphysical foundation meet in the single cognitive and experiential act – this article bridges the analogue with the digital, navigating nature’s strategies to embody inherited and learned (...) complex behaviours in the design of nests, in what I call data-nests. (shrink)

Since Norbert Wiener presented a new research field called the study of control and communication in the animal and the machine, the biological and the artificial universes are each time more integrated as pieces of a game that involves science, philosophy, technology, arts, architecture and several other fields. It is astonishing to take a look at an imaginary non-linear timeline where it is possible to see the ancient Ars Mnemonica inspiring the Leibniz combinatoria and how all these virtual knowledge structures (...) inspired the development of a communication and control machine called the computer. A machine that is quite an exploded black box artificial systems integrated into biological systems in a cybernetic structure through which most diverse kinds of information flows. We are living in times in which the logic of this machine becomes the core of our post-biological era in its essence, the era in which the biological and artificial realms are immersed in one another. An era in which we see [] humans in fact integrating with the fiction of their imagination as conjured up digitally by the computer, and in which the digital arts emanating from the cosmology of number are also a link between digital finality and infinity imagination, defending man in his impossibility to be simulated (Weibel 1999: 222). Considering this panorama in the contemporary artistic context, it could be stimulating to think about interactive digital art installations as systems in which the elements are both organic and artificial, both physical and virtual, interconnected like they were performing a cybernetic ballet. The aim of the present research is to study this choreography using the complex sciences framework. Following this objective, a series of parameters based on systemic measures of organization and complexity were structured. Our intention is, obviously, not to say that the work of art is more or less systemic, more or less complex or organized, but to help in understanding and to conceive the installation as a system: a complex adaptive system (CAS). (shrink)

Despite the entangled universe cannot be considered merely as an enormously complex system, as it is reactive to actions and observations, references on quantum entanglement in living systems may help find ways in which quantum effects can move from the microscopic to the macroscopic, in realms where the mind/brain behave as a quantum object and is sensitive to the dynamic state of the entire universe. Taking up vision from a synaesthetic perspective as a perfusion of senses, and putting together a (...) myriad of references around this perception phenomenon, the idea is to work in the building of artistic experiences where vision takes up a tactile function, emerging from a tension between the movements governed by the interaction of the attractors. (shrink)

We are mastering engineering behaviour on a molecular level. A growing number of researches investigating the relationship between microbiota, human brain and behaviour examine the impacts of manipulating specific microbial colonies in human hosts. To enable discussing and understanding communicational phenomena that occur in scales not visible to the naked eye, we propose the term Molmedia – a metaphorical reference to the concept of mole, denoting here not exclusively the quantitative amount of substance but the information exchange processes (taking the (...) substances as messages) that are going on at elementary entities level such as atomic, subatomic and molecular, within a given system that can be a living organism. We take media (plural of medium) as an intervening agency, means or instrument. Interacting emitters and receivers in this system are the microbiota and the organism actual cells. Within this self-organizing structure, the ongoing informational processes produce, as an emergence, the self and behavioral patterns that can be appreciated, manipulated and cannibalized. The art and science installation Transplanting the Self: Microbiome Anthropophagy is presented as an explorative exercise of the concept and related possibilities in science concerning gut–brain communication and the use of neuroregenerative nutrition in treatments for neurologic conditions. (shrink)