This article presents research on assemblages among humans and computational systems in which physical and virtual autonomous processes occur in order to create artworks allowing the emergence of mixed sensory set-ups. It begins with triadic relationships computer, physical objects and participants aimed at co-relations among bands of bots (virtual and physical) with groups of humans (interactors). The bots have a representation of the virtual world: physical bots live on a flat surface (Abbot 1991), a projection of the 3D environment where (...) the virtual bots live. The artwork also explores the metaphor of higher dimensions being understood through their projections in lower dimensions. Its goal is to weave interaction and autonomous processes, looking for poetic results integrating art, science and technology; results with aesthetic, poetic and functional qualities; and results exploring emergency and agency for design, construction and set-up of expressive systems. For these symbioses to happen the assemblage of environments with aesthetic and poetic appeal leads one to think about mixed cognitive processes that provoke emergent behaviours. I am interested in the behaviours emerged in such inter-relationships. Therefore, to achieve this goal, I have created a Java framework that allows me to program interfaces weaving such behaviors1 and also I have programmed a set of sketches using Processing2 to test the hypothesis. The main inquiries of such research are as follows: What kind of artwork could mix people with autonomous computational processes without becoming invasive? and Is such a dichotomy possible? To answer these questions, I came up with the idea of playing with swarms and flock algorithms mixing virtual and physical domains. Will this create the mixed behaviour I am looking for? Will the participants contribute with their actions, emotions and affects while the computer develops its own autonomous processes? (shrink)

‘Thinking liquid thoughts’ is an essay aiming at the aggregation of ideas and concepts which emerge and float when enquiring if there are characteristics related with the research of fields that artists could explore as new poetic venues for further works. Nanosciences and nanotechnologies will affect almost all features of everybody’s lives in the near future. What are the issues, either desirable or undesirable, we should try to point to considering the specific view related with art, architecture and design. We (...) also have to ask, which are the skills and tools that artists, architects and designers will need for developing research and creating work in these new fields. Opening with the idea of thinking liquid thoughts the essay also speculates about the possibility of creating interactive responsive works of art, extremely sensitive, exploring poetic possibilities for the creation of material products aiming a bi-univocal relationship between the computer simulation and the material realm. There is also research related with educational games and the programming of poetic journeys using virtual reality technologies, pointing to the convergence of silicon with carbon, which will bring about deep implications in the mode of production of things, thoughts ands processes.modelling, animation and VRML, Java Script and Java 3D languages. (shrink)

This article presents and reflects upon artistic artworks at the intersection of virtual and physical computer systems with wet (biological) systems, in reference to Roy Ascott’s ‘moist theory’. It is divided into two sections. The first section offers contextualization by pointing to Darcy Ribeiro’s considerations of differentiations among Brazilians, thus leading to an expectation of miscegenation that assimilates and incorporates races and beliefs in a syncretic way. To this background is added a theoretical framework based on semiotics entwined with mathematics (...) and physics from a set of authors. Both aspects are intertwined with visceral sensations and feelings which emerged from immersible field researches. Glimpses of the 1997 Xingu expedition are introduced as an example of such immersible field research to unveil aspects related with moist theory. The second section presents four case studies that illustrate all of the concepts previously mentioned. Here, syncretism is understood as a field for events that engender the artworks. These artworks are created as metaphorical journeys aimed at expressing potential shamantic experiences and configured as a set of symbiotic systems. Two of these artworks explore neural connections; their research involves computer devices that allow human interferences in the behaviours of autonomous agents in virtual reality simulations. The resultant systems are artificially alive organisms in flux with the rhythms of the autonomous programmed processes; these change each time they run within the computer, allowing the user to symbiotically interfere in the algorithmic nature of artificial ‘seeds’. These poetic realms are metaphors of the flow of life itself. Summing up, they are technoetic artworks that could only arise from the Brazilian melting pot of cultural, racial and theoretical mixtures. (shrink)

This essay presents and reflects upon the construction of a few experimental artworks, among them Caracolomobile , that looks for poetic, aesthetic and functional possibilities to bring computer systems to the sensitive universe of human emotions, feelings and expressions. Modern and Contemporary Art have explored such qualities in unfathomable ways and nowadays is turning towards computer systems and their co-related technologies. This universe characterizes and is the focus of these experimental artworks; artworks dealing with entwined subjective and objective qualities, weaving (...) perceptions, sensations and concepts. One of them, Caracolomobile, features an art installation creating a set up for an artificial robot that recognizes humans’ affective states and answers them with movements and sounds. The robot was installed over an artificial mirror lake in an open indigo-blue space surrounded by mirrors. It perceives and discriminates human emotional states and expressions using an interface developed with a non-intrusive neural headset (The neural headset used was developed by Emotiv Systems: http://www.emotiv.com . Accessed 11 August 2011). This artwork raises questions and looks for answers inquiring about the preliminary steps for the creation of artefacts that would conduct one to poetically experiment with affect, emotion, sensations and feelings in computational systems. Other works in progress ask about the poetic possibilities of mixing computational autonomous processes and behavioural robotic procedures (Arkin 1998 ) to create artificial environments mixed with humans. (shrink)