Lila Moore
Dr Lila Moore is the founder of The Cybernetic Futures Institute (CFI), a networked platform for the exploration of technoetic arts with an emphasis on the spiritual and occult in art, film, screen-dance and networked-digital-interactive forms of performance and narrative. She is an artist film-maker, screen choreographer, networked performance practitioner and mixed reality innovator, technoetic ritualist, and visionary theorist.
The CFI is based on a body of theoretical writings and creative practice which constitute her post-doctoral project at Planetary Collegium of Plymouth University (2014-2015). The CFI explores states of consciousness via the arts and in relation to spiritual, magickal-mystical, technologies and techniques in past and emergent art forms and movements.
Dr Moore holds a practice-based Ph.D. degree in Dance on Screen from Middlesex University (2001) and an M.A. in Independent Film and Video and M.Phil on the Evolution of Art Forms , Dance and Technology Forms, from Central Saint Martins College of Art and Design, London. She researched film and the spiritual as Associate Research Fellow at London Metropolitan University, and was a co-founder of the BA programme for the Study of Mysticism and Spirituality at Zefat Academic College, where she taught courses on the intersection of film and new media, art, and contemporary spiritualities such as: Spiritual Cinema: Film and Contemporary Spiritualities, Film and Ritual, The Spiritual in Art and The Spiritual in Digital Art and Culture. She is the recipient of the Outstanding Lecturer award from the Department of Mysticism and Spirituality, Zefat Academic College, 2022.
Dr Moore is a lecturer and thesis supervisor for the Alef Trust MSc in Consciousness, Spirituality and Transpersonal Psychology. She leads the Option Course: Spirituality and the Imaginal which is also available to all learners through the Alef Trust's Online Open Learning. The MSc degree is validated by Liverpool John Moores University.
Dr Lila Moore is a published author, and her writings include articles published in peer-reviewed academic journals. She regularly presents papers in international academic conferences, and her artworks are on show in juried and curated exhibitions and in archives of contemporary art and film such as ACM SIGGRAPH and ADA-Archive of Digital Art.
The CFI is based on a body of theoretical writings and creative practice which constitute her post-doctoral project at Planetary Collegium of Plymouth University (2014-2015). The CFI explores states of consciousness via the arts and in relation to spiritual, magickal-mystical, technologies and techniques in past and emergent art forms and movements.
Dr Moore holds a practice-based Ph.D. degree in Dance on Screen from Middlesex University (2001) and an M.A. in Independent Film and Video and M.Phil on the Evolution of Art Forms , Dance and Technology Forms, from Central Saint Martins College of Art and Design, London. She researched film and the spiritual as Associate Research Fellow at London Metropolitan University, and was a co-founder of the BA programme for the Study of Mysticism and Spirituality at Zefat Academic College, where she taught courses on the intersection of film and new media, art, and contemporary spiritualities such as: Spiritual Cinema: Film and Contemporary Spiritualities, Film and Ritual, The Spiritual in Art and The Spiritual in Digital Art and Culture. She is the recipient of the Outstanding Lecturer award from the Department of Mysticism and Spirituality, Zefat Academic College, 2022.
Dr Moore is a lecturer and thesis supervisor for the Alef Trust MSc in Consciousness, Spirituality and Transpersonal Psychology. She leads the Option Course: Spirituality and the Imaginal which is also available to all learners through the Alef Trust's Online Open Learning. The MSc degree is validated by Liverpool John Moores University.
Dr Lila Moore is a published author, and her writings include articles published in peer-reviewed academic journals. She regularly presents papers in international academic conferences, and her artworks are on show in juried and curated exhibitions and in archives of contemporary art and film such as ACM SIGGRAPH and ADA-Archive of Digital Art.
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Articles by Lila Moore
One thing seems certain, the technoetic principle will be at the centre of art as it develops, and consciousness in all its forms will be the field of its unfolding. —Roy Ascott, 1999
https://wrldrels.org/2019/08/25/moina-bergson-mathers/
upon seeing Earth from space. It was reported by astronauts as a
state of awe involving a profound comprehension of life on Earth.
The Overview Effect is discussed as an emerging feminine
archetype and an evolving myth of the Earth Goddess Gaia, which
commenced with the iconic photos of Earthrise and the Blue Marble.
These images and the Overview Effect as described by astronauts
are critically discussed in relation to their impact on religious,
feminist and environmental trends and worldviews. Women
astronauts' responses to the Overview Effect are firstly observed
through themes depicted in sci-fi films, which is followed by a
critical discussion of the Overview Effect through the female gaze
of women astronauts. Secondly, the discussion centers on feminist
transpersonal, psycho-spiritual, and mythic approaches to the
Overview Effect. The demonstrations disclose women astronauts’
unique artistry and creative projects alongside embodied and
participatory knowledge and agendas aimed at deepening
humanity’s relationship with the Earth as the cosmic cradle of
humanity.
Moore, Lila " The Transcendent Double Selfie App", in Dalila Honorato and Andreas Giannakoulopoulos (eds.) Taboo-Transgression-Transcendence in Art & Science 2017 Conference Proceedings, Corfu: Ionian University - Department of Audio & Visual Arts, 2018, pp. 229-236
Proceedings by Lila Moore
Papers by Lila Moore
One thing seems certain, the technoetic principle will be at the centre of art as it develops, and consciousness in all its forms will be the field of its unfolding. —Roy Ascott, 1999
https://wrldrels.org/2019/08/25/moina-bergson-mathers/
upon seeing Earth from space. It was reported by astronauts as a
state of awe involving a profound comprehension of life on Earth.
The Overview Effect is discussed as an emerging feminine
archetype and an evolving myth of the Earth Goddess Gaia, which
commenced with the iconic photos of Earthrise and the Blue Marble.
These images and the Overview Effect as described by astronauts
are critically discussed in relation to their impact on religious,
feminist and environmental trends and worldviews. Women
astronauts' responses to the Overview Effect are firstly observed
through themes depicted in sci-fi films, which is followed by a
critical discussion of the Overview Effect through the female gaze
of women astronauts. Secondly, the discussion centers on feminist
transpersonal, psycho-spiritual, and mythic approaches to the
Overview Effect. The demonstrations disclose women astronauts’
unique artistry and creative projects alongside embodied and
participatory knowledge and agendas aimed at deepening
humanity’s relationship with the Earth as the cosmic cradle of
humanity.
Moore, Lila " The Transcendent Double Selfie App", in Dalila Honorato and Andreas Giannakoulopoulos (eds.) Taboo-Transgression-Transcendence in Art & Science 2017 Conference Proceedings, Corfu: Ionian University - Department of Audio & Visual Arts, 2018, pp. 229-236
One thing seems certain, the technoetic principle will be at the centre of art as it develops, and consciousness in all its forms will be the field of its unfolding. —Roy Ascott, 1999
Abstract
© 2018 By Dr Lila Moore
Paper presented at Apocalypse in the Art: The Creative Unveiling
CenSAMM Symposia Series 2018
Centre for the Critical Study of Apocalyptic and Millenarian Movements, Panacea Charitable Trust , Bedford, UK
The presentation utilizes the sensibility of technoetic aesthetics in order to demonstrate an interpretive study of imagery issuing from contemporary cultural and technological innovative products and events, such as Blade Runner 2049 and SpaceX Starman, the Tesla Roadster launch. It refers in particular to the theme of horse, horseman, and rider depicted explicitly or implied through aesthetic metaphors. These images seem to conjure current apocalyptic and revelatory meanings as well as amplify a sense of collective longings for transcendence.
Firstly, the term 'technoetic' was coined by the British artist and theorist Roy Ascott, and pertains to combinations of tech and nous, technology and mind. In principle, technoetic aesthetics bypasses the surface image of the world and allows an interpretive creative process that considers the interrelations of technology and mind and their various religious contexts. Hence, it may be relevant to imply that in the mystical traditions of Kabbalah, e.g., Abraham Abulafia and Tikunei haZohar, the horse and rider are both associated with the mind, the capacity of thought, and the Divine Intellect. In a technoetic framework, both the horse and the rider could metaphorically represent the powers of technology and mind, and the new interrelations of artificial, human and divine intelligence.
Secondly, on this technoetic premise, the analysis unfolds the revelatory function of the horse in the mind of K, the protagonist of the post-apocalyptic film Blade Runner 2049, and its aesthetics of transcendence as a product of mind technology. It is followed by a creative reflection on the broadcast of SpaceX Starman and the colour scheme of the 'transcendent rider' in relation to the colours of the four horses in a Judeo-Christian context. Overall, the aesthetics that associate the horse with technology and mind reframe, and may further evolve, the religious imagination and art of revelation and transcendence.
Link to the full lecture and paper:
http://www.cyberneticinstitute.com/techno-spiritual-horizons
Holy Lands and Sacred Histories in New Religious Movements
The Van Leer Jerusalem Institute
In 2050, the Internet exists everywhere and anywhere one may wish to engage with networks. It has transformed into a cluster of independent webs, consisting of self-regulating and interconnected partially virtual worlds and environments. Initially, this trajectory triggered suspicion and fear. Terrorist attacks, global crime and violence left a devastating legacy. However, at the margins of culture, networks artists, consciousness hackers, cyborg designers and interdisciplinary innovators sought to holistically realign the environment and the human body along with the exploration of consciousness. By 2040s, the design and technology of eco-noetic environments became mainstream, gradually reducing violence towards the environment and catalyzing the emergence of novel, compassionate cultural narratives.
The narrative of violence is evident in Anthropocene. To transform the narrative, the context has to shift. The carbon-neutral format of this online conference is an opportunity to explore an alteration in context. Although face-to-face interaction cannot be replicated, research and practice from the fields of networked performance and learning, VR, and cyberception demonstrate that new technologies and methodologies can evolve and improve our involvement with the body-mind, one another, and the environment. Furthermore, they can induce states of compassion and communitas in participating individuals and groups. These potentials catalyze a different landscape in which distance and proximity, presence and meaning are noetic, i.e., mind-based and compassion-oriented. As a result, we are re-learning to navigate the environment via new types of landscape technology design, and imagine our environments as eco-noetic, i.e., in compassionate symbiosis with our body-mind and nature.
Paper presented at The World in 2050
Nearly Carbon Neutral Conference
University of California, Santa Barbara
October 24 to November 14, 2016
http://www.cyberneticinstitute.com/eco-noetic-environments
Gaia - Mysterious Rhythms is a screen dance-ritual performed by a young woman on the seashore. The dance unfolds a rite of passage and a process of transformation through the woman's interaction with the elements of the natural environment: the rhythms and features of the earth, sea, moon and sun. In formal terms, Gaia (short title) was set out to explore the notion of screen choreography/screendance through a subtle, poetic and reflective interplay of images of the body and the environment. In terms of content, the woman's performance is perceived as a source of metaphoric and archetypal imagery that highlights the intricate relationship between body, psyche, and the world. Gaia illustrates processes of transformation, Self-integration and empowerment relating to female and feminine identity. Moreover, it provides an analysis of spiritual, noetic and imaginal realms, including ancient symbols and archetypal symbolic forms, through the non-verbal visual poetry and fusion of dance and film.
The monograph is especially suitable for students, scholars, film-makers, dancers and choreographers. It can be useful to those interested in women’s spirituality, occult and goddess studies, Jungian psychology and Transpersonal studies, and movement-based therapies. The monograph provides detailed explanations and visual illustrations, including links to the film, related contents and valuable references.