This special issue of AVANT is all about Cognitive Innovation. It is not about CogNovo, the interdisciplinary and international doctoral training programme that produced three different Off the Lip events. It is not about Off the Lip 2017, the novel symposium format we developed to collaboratively create a publication resulting in this special issue of AVANT. It is not about the seemingly heterogeneous collection of papers that follow this preface. Collaborative Approaches to Cognitive Innovation required something else, something we are (...) starting to capture in the four GIFT principles. While this special issue is not solely about CogNovo, Off the Lip events, or the content of the following submissions, all these aforementioned elements were necessary to shape our current understanding of Cognitive Innovation, the very process which led to numerous publications, exhibitions, and events during the past three years. In a sense, all of our previous endeavours have culminated in this collection of 26 distinct pieces of work, yet we hope and believe that this special issue also marks a beginning. Let us explain. [...]. (shrink)

The underlying claim of this essay is that we live in a multiverse, that is a universe of many universes that occupy the same space and time, not as an exotic excursion into the realms of science fiction, but as an everyday necessity that affects our social and economic interchange. Faced with such instability, the convenient way that this was managed was through an arbitrary division of labour that assigned the rational to the ‘real’ and the irrational to the ‘imagined’. (...) Recent speculation in cosmology and the science of consciousness studies has obliged us to reconsider the concept of reality as an ‘absolute given’ from which all laws can be verified. In string theory in particular, the dispute now hinges on the existence of ten or eleven dimensions in rippling membranes that discharge energy at the point of contact. In consciousness studies, similar models have appeared in order to embrace what might be understood as an apparent moment of enchantment essential to turn consciousness into awareness. The inevitable realization in scientific circles that the reality of the imagined has as an equivalent epistemological significance to the reality of the material, raises fascinating questions as it invites a sceptical reconsideration of the essential basis of knowledge and a revision of procedures. While the radical shift in scientific thought provides the moment of profound satisfaction for those artists, designers and scientists who have long argued for a transdisciplinary world-view, it also provides a moment of great challenge as we begin to consider how knowledge might be extended, codified and distributed in a multiverse, and begin to reflect on the relationships between text and world when any given world is only defined by the temporary consensus dependent on an arbitrary episteme. (shrink)

In 1969 Jasia Reichardt curated an exhibition at the Institute of Contemporary Art in London called Play Orbit. Although it has not achieved the landmark status of Reichardt's Cybernetic Serendipity, which was presented in London a year earlier, it caught the intellectual and artistic mood of a newly emergent constituency of (largely British) artists who had benefited from a post-war revision of art education and a de-centring of intellectual energy away from the economic capitals. It may be that Play Orbit (...) will eventually be regarded in much the same way as Cybernetic Serendipity that is, as a significant footnote in the history of contemporary art. By turning artists' attention to toys through this project, the categories of painting and sculpture dissolved and the Modernist imperative of the enduring observation that had informed the arts and letters in a centred intellectual regime was seen for what it was: a colonial anachronism. The unapologetic relativism of play and the provisional truths of games coalesced in Play Orbit as confrontations to the essentialist materialism of the prevailing orthodoxy. In this sense Play Orbit, and its extensive catalogue of images and essays, foreshadowed not only the critical style that followed the influence of Continental Theory in the mid 1970s but also anticipated the agenda of virtually all that has been written about games in the last decade. For all its apparent whimsy and reification of idiosyncrasy, Play Orbit can now be seen as, above all, a constructively political intervention levered through the arts. For example, one of the more enduring and least contested impacts of the intellectual revisions of the last thirty years that Play Orbit foreshadowed is evident in the practice of history not least the practice of history as a game to be played. This paper elaborates on these assertions and asks how games and games theory might be connected with their own political and intellectual history, and how contemporary artists who choose to benefit from the licence that play endows might situate their work within what might be called Art Ludistory: a political play on the history of play. (shrink)

Through analogy this paper draws attention to hypercapitalism, that is, the profitability of the processes of economic recirculation that are independent of a materialist reality. Since neither materialist ideology nor perception are any longer at stake in hypercapitalism this opens the way for other realities to be revisited. In particular, this paper suggests that this radical shift in the logic of the economy resonates with the values of the Mediaeval period. The paper concludes by suggesting that the study of human (...) consciousness may benefit from a new relationship with reason, particularly as we consider such terms as artificial and intelligent. (shrink)