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55


Nature

From life to life. The multiplicity of the living
Pier Luigi Capucci

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. In an early phase – in a path which has been taking place since the Paleolithic age – the new forms depend on us and are mainly our extensions, as the current tools, machines, devices and artifacts are, which expand our bodies, our senses and our mind. But step by step these forms are becoming more and more autonomous, and due to the pressure of the antrophic environment are evolving as living entities but beyond the organic dimension, cross-breeding with it or based entirely on inorganic sources. These forms are not being selected by the same “natural” environment which selected the current living organic forms, like humans, they are not the result of the so called natural selection. Indeed they are created and selected by a cultural process, by the anthropic sphere. They are the result, the goal, of the anthropic culture and environment. The more the anthropic sphere will expand and develop, the more these forms will proliferate and evolve.


 
France Cadet - dogs

Humans, animals and robots. Interview to France Cadet
France Cadet

I first started to use robotic dogs in my work because they allowed me to embody questions concerning animal rights, and the complex relationship between humans and animals which is central to my work. These questions have evolved over time. At the beginning I was more focused on the boundaries between human and animal, simply using the robots as a medium, then I became interested in using them for their intrinsic robotic qualities, hence questioning the relationships between humans (or animal) and machines. In Dog[LAB]01, my first installation using I-Cybies, the seven transgenic and chimerical little robotic dogs where used to make a critical social statement about the excess and dangers of cloning, eugenics and other experiments using animals. It also dealt with controversies concerning artists using bio-art as an art form. The modifications of these improbable creatures were based on very real research and experiments done on real animals and demonstrate their possible consequences.


 
Interactive Plant Growing

From The Technological Herbarium (3) - Interactive Plant Growing and Trans Plant by Christa Sommerer and Laurent Mignonneau
Gianna Maria Gatti

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. In the same way, each user contributes personally to produce these creatures, but as soon as they are born they free themselves from him, ready to interact with other participants, to modify and progress. There no longer exists a single figure in charge of the work: it is neither in the hands of the artist nor of the public; from their complicity defined and prefixed objects are not created, but life is created, animated by evolutionary processes.


 
Bioarts

Italiano La doppia articolazione del vivente English The Double Division of the Living
Pier Luigi Capucci

Italiano 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 tecnologie che derivano dalla biologia e da alcune discipline che le ruotano intorno.
English 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 questiono The whole of the history of art has taken its measure from nature, but an important change took piace with the advent of technology derived from biology and from the disciplines revolving around it.


 
Psmose

From The Technological Herbarium (2) - Osmose by Char Davies
Gianna Maria Gatti

To enter inside a tree and exit it through the leaves after having participated in its process of chlorophyllous photosynthesis: this is one of the many journeys that Char Davies makes the user of Osmose experience in an immersive, interactive, and multisensorial virtual reality environment that was developed and produced in 1995. 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. There are no gloves, joystick, trackball or other manually easy to manipulate interface in so far as the interaction is based exclusively on breathing and on the balance of the person: by inhaling one rises, by exhaling one goes down, by bending forward one moves forward, by bending backward one draws back.



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