Tagged as: Section 55
From life to life. The multiplicity of the living
Symbolic intelligence was originated from the organic dimension, its roots are organic. Its advent generated the outburst of tools, prostheses, artifacts, and deeply changed our human interaction with the environment, generating the anthropic world we know.
Humans, animals and robots. Interview to France Cadet
In her Cyborg manifesto Donna Haraway defines cyborgs as creatures simultaneously animal and machine: both active in the world of social reality and fiction. To what extent do your species of animal-robots question conventional boundaries between animal, human and machine?
From The Technological Herbarium (3)
The role of Sommerer and Mignonneau, beyond the indispensable originating phase, is concentrated on the setting up of the system, which means defining and planning the organization and the basic processes of the particular habitat: a communicative and interactive space that, once thriving, lives autonomously from its creators, self-managing the relationships with the outside and those continuous exchanges which determine the production and reproduction of the creatures living in them.
The Double Division of the Living
The relationship between art and organic matter is an ancient one. The whole of the history of art has been influenced by the living, by “that which lives”. That which lives – animals, plants, other human beings... – for millennia has represented the inspiration and model for artists, the signifying universe in which they existed, which they sought to exorcise, communicate, depict, cali into question.
La doppia articolazione del vivente
Il rapporto tra arte e materia organica è un rapporto antico. Tutta la storia dell’arte è stata influenzata dal vivente, da “ciò che vive”. Ciò che vive – animali, piante, altri esseri umani… – per millenni ha rappresentato l’ispirazione e il modello degli artisti, l’universo significante nel quale esistevano, che cercavano di esorcizzare, di comunicare, di rappresentare, di problematizzare. Tutta la storia dell’arte si è misurata con la natura, ma un cambiamento importante è avvenuto con le te...
From The Technological Herbarium (2)
Integrating three-dimensional images realized in computer graphics with localized stereophonic sounds, Davies constructs twelve worlds in which it is possible to immerse oneself and move around wearing a Head-Mounted Display that allows a stereoscopic vision, and bands that encircle the chest.