As the title of this article suggests, the concept of the interface needs to be revisited in the context of biological media in order to infer some implications for the post-biological culture. A direct comparison of our media culture to the environmental notion of the media and the natural partitioning of the media by biological membranes becomes possible if we expand on the notions of media and interfaces in our technologically conditioned realities. The question of periphery and permeability of a (...) biological membrane will be addressed in the context of the theory of aesthetics. Although at first glance we are dealing only with subtle changes in the degree of permeability of an interface, suddenly selectiveness in permeability arises, and though an interface is considered simply peripheral, at a slight touch with an opposing media its role swiftly becomes central. Taking into account the functioning of a biological membrane, a remarkably resourceful technology, associations stem from the culture on the cellular level to the culture of human society, where the human being should not be limited to the concept of self, but operatively diffused into collective awareness. The technologies that we develop, and the media we employ and inhabit always meet at an interface. But there is more to the face-to-face meeting of media than a mere inert surface. Such a surface as a membrane is not abstractly thin but more like ‘infrathin’ – the term invented by the artist Marcel Duchamp. What happens at such confrontation of media of different kinds, of incomparable qualities, will be further discussed in the article. The dynamics of permeability at the periphery adjust the tension between heterogeneous qualities of the media to allow for coexistence, even for the emergence of new meanings. This heterogeneity can be experienced only within the interface, and therefore an inner view is proposed instead of a view from above, an inner view that prevents reduction of processes to commensurable, quantifiable objects. Since interface occurs at every interaction with the world, as explained in the theory of endophysics by biochemist Otto E. Rössler, we have to be aware of the problematics of this phenomenon, and we must rethink its potential. The interface is at the same time an opportunity, the interval we are given, where our drive to act is suppressed and our will to speculate prevails. By contemplating intricate biological solutions, this article hopes to further encourage the turn towards post-biological evolution of our awareness. (shrink)

The instructions inscribed in French on a strip of metal glued across Marcel Duchamp’s work, also known as Small Glass, translate into English as follows: ‘To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour’. In exploration of the implications of such strenuous procedure the original instructions will be expanded upon: ‘To Be Looked at (from Multiple Sides) with more than One I, Close to and Even Closer, for Almost an (...) Instant’ - an invitation to exercise the polyphibic awareness of multiplicity of appearances, the ability to look at a phenomenon not only from one or the other side but from multiple sides, in its multiple potential apparitions. (shrink)

The following article is a report on inevitable intervention in the current state of affairs in well-intended and well-funded projects based on obsolete categorization of art and science. After unsatisfactory outcomes, on the disappointment of project directors themselves, a productive collaboration between artists and scientists is still desperately sought after, without considering with subtlety a re-categorization that is already happening. This intervention is an ‘in advance reminder’ for foreseeable recognition of the current state of affairs, a reminder of the sensibility (...) necessary to recognize, as soon as possible, the accelerating rate at which concepts are continuously becoming obsolete, and the increasing fluidity of our intellectual and intuitive production. (shrink)

The first round about ‘The myth of ASCOT and its rival ASCO2.T: tech-noetic vs. techno-logic’ exposed the hazard in colliding obsolete disciplinary categories under outdated procedures. The orthodox jurisdiction of Ars Electronica and CERN in Collide@CERN, one of the most prominent ongoing programmes of this kind, does not eliminate the risk of missing the target by operating with categories of artists and scientists. Art is one of those disciplines with a long expired warranty, but with decay on its periphery that (...) is turning into fertile forefront territories. Fresh temporary categories are marking and spreading over these uncharted territories and sensibly interconnecting with peripheries of other disciplines. The ex-artist that is reborn in this peripheral transdisciplinary zone can be provisionally categorized as a polyphibian for its features to be carefully studied. Like amphibians, a polyphibian can coherently transcend from one medium to another, in between and beyond the disciplines. In order to research the implications of such ‘categorical’ mutations, a readymade was submitted to the organization of Collide@CERN under the licence of R. Mutt. Namely, the readymade ASCOTT (Apparatus with Super COnducting Thought Transduction) dubbed also ASCO2.T is needed as the second-order upgrade of the existing plan for ASCOT (Apparatus with Super COnducting Toroids) invented by the scientists for CERN. As is expected from the reputation of R. Mutt’s readymades – this submission was ignored and refused in just the same quiet manner as his most notorious one. But if society would not provide salons for the refused artists (Salon des Refuses) right next to the salons under the scrutiny of academically established artists, there would be no mutations and no evolution in art. Such mutations of the artist into a ‘complex and widely distributed system’ at the dispersing fringes of decomposing art was already predicted by R. Ascott. Polyphibians are the species surviving the ripening metamorphosis of disciplines by taking refuge in the unexplored transdisciplinary buffer zone. This is the only zone where a confrontation of ASCOT technology with tech-noetics of ASCO2.T is possible. The refused unknown demands not a Salon but the Interval of Suspended Judgement. In the sequel to the first round of this debate, the Interval of Suspended Judgement will be investigated. (shrink)