Papers by Jacquelene Drinkall
Leonardo electronic almanac, 2017
They each work with mass participation using a range of tele-media, and with analogies to quantum... more They each work with mass participation using a range of tele-media, and with analogies to quantum particle intra-action and action at a distance. The aesthetics of these artists are set in dialogue with analogous poetics and politics of telepathy and action at a distance found in the critical philosophies of speculative and cognitive materialisms and immaterial labor.
Topia: The Canadian Journal of Cultural Studies, Oct 1, 2022
The current state of capitalist digital telepathics, or what I will call telepathy 3.0, presents ... more The current state of capitalist digital telepathics, or what I will call telepathy 3.0, presents a serious threat to the prospects of human freedom (Žižek 2020). Notably, the capitalist race to develop telepathics by Mark Zuckerberg's Facebook/Meta, Elon Musk's Neuralink and others represents an intensification of surveillance capitalism (Zuboff 2019: 206). Through an examination of tech-sector marketing literature and industry critics this article examines contemporary development of Brain Computer Interfaces (BCIs), Neural Interfaces (NIs) and intensified social networks, revealing the expansion of surveillance capitalism and its shift into neurocapitalist telepathics. Is there an alternative to the corporate dystopia promised by telepathy 3.0? This article argues for a more soulful and speculative form of telepathics in fields including art, philosophy, design, architecture, engineering, cybernetics and even psychology. This tradition of prophetic art and human compassion must be nurtured in the face of massive corporate-led investments in predictive technologies.
An open house and art exhibition in the Blue Mountains suburb of Woodford. On 6 April 2014, Morto... more An open house and art exhibition in the Blue Mountains suburb of Woodford. On 6 April 2014, Morton House will be open to the public for inspection, while hosting the Eco Spirit exhibition of transcendental art, curated by Jacquelene Drinkall. The event is part of the series by Modern Art Projects (MAP) exploring the curation of contemporary art in unique architecture and gardens, and includes talks by the owners of the house, past and present, and Drinkall as curator.
Lecture Notes in Computer Science, 2009
... Cook University, School of Creative Arts, PO Box 6811, Cairns, QLD 4870, Australiajacquelene.... more ... Cook University, School of Creative Arts, PO Box 6811, Cairns, QLD 4870, [email protected] ... 164 J. Drinkall ... This paper is adapted from my Art History and Theory PhD thesis Telepathy in Contemporary, Conceptual and Performance Art, the chapter Suzanne ...
University of West Virginia Press, 2019
No abstract available
This paper speculates upon the possibilities of a telepathically enhanced culturalenvironment, wh... more This paper speculates upon the possibilities of a telepathically enhanced culturalenvironment, which might create forms of modulation in the neural networks of the brain.The first uncertain challenge, in the section Telepathy and the Idea of the XSF, is tounderstand telepathy as Extro-Science Fiction (XSF) and show how XSF becomes real.XSF as understood by Quentin Meillassoux is contrasted to science fiction. Particularly Iwill concentrate on Meillasoux Type 2 worlds whose irregularity is sufficient to abolishscience but not consciousness. Through an exploration of the artist practices of RobertBarry, Marina Abramovic, and Susan Hiller employing telepathy, I will suggest these artexperiments produced information that science could not. These artists and their workhave laid the foundation for an integral understanding of telepathy, where telepathy inconceptual art processes are materially engaged with the brain, body and the world.Responding to a wealth of information manifesting in science fiction, these conceptual artpractices, within a sub-genre I call extro-science conceptual art, an extension of XSF intoart, have been reappearing in recent telepathic technologies. These conceptual artpractices become the first materializations in the cultural schemata of these technologiesand form a link to experiments with those of the 19th century to the present day. Theymanifest as migrations of the sensible and insensible, and form active visions to beharnessed by such things as material engagement theory (MET) and brain artifactinterfaces. (BAI) discussed in my next section. Material Engagement and the WorldBrain Continuum. Using these theories as a foundation I analyze how a culturalenvironment in the process of becoming more telepathically inclined, as a result of moreembedded telepathic technologies, might in fact sculpt the brain’s neural plasticity.
Topia: The Canadian Journal of Cultural Studies, Oct 1, 2022
The current state of capitalist digital telepathics, or what I will call telepathy 3.0, presents ... more The current state of capitalist digital telepathics, or what I will call telepathy 3.0, presents a serious threat to the prospects of human freedom (Žižek 2020). Notably, the capitalist race to develop telepathics by Mark Zuckerberg's Facebook/Meta, Elon Musk's Neuralink and others represents an intensification of surveillance capitalism (Zuboff 2019: 206). Through an examination of tech-sector marketing literature and industry critics this article examines contemporary development of Brain Computer Interfaces (BCIs), Neural Interfaces (NIs) and intensified social networks, revealing the expansion of surveillance capitalism and its shift into neurocapitalist telepathics. Is there an alternative to the corporate dystopia promised by telepathy 3.0? This article argues for a more soulful and speculative form of telepathics in fields including art, philosophy, design, architecture, engineering, cybernetics and even psychology. This tradition of prophetic art and human compassion must be nurtured in the face of massive corporate-led investments in predictive technologies.
My chapter 'Energy Meets Telepathy and Materialist Consciousness' in the book Energy Cultures edi... more My chapter 'Energy Meets Telepathy and Materialist Consciousness' in the book Energy Cultures edited by Imre Szeeman and Jeff Diamanti. I've also included the cover and inside chapter info and the Introduction by Szeeman and Diamanti as it discusses my chapter (this is already available on academia.edu)
This paper explores telepathy as a tool and method of collaboration within international visual a... more This paper explores telepathy as a tool and method of collaboration within international visual art practice since the 1960s. The words telepathy and telethesia were coined simultaneously when Frederic Myers founded theSociety for Psychical Research in London in 1882. However, telepathy names an experience of distant (tele) feeling (pathos) or ideas (thesia) found in all cultures. Telepathy and collaboration are tools that a number of artists reach for simultaneously when attempting to share and/or transformsubjectivity. This raises questions of the overlapping imilarity between telepathy and collaboration, and of what it means to collaborate using telepathy. What is shared between telepathy and collaboration, and what is different?
Leonardo electronic almanac, 2017
Telepathy is emerging as a significant paradigm of artistic practice at the interface of art and ... more Telepathy is emerging as a significant paradigm of artistic practice at the interface of art and science, with telepathy operating in transferences of media, tele-technologies, and ‘techlepathies,’ as well as in social and psychological aspects of collaboration and interaction. Design researcher Usman Haque and artists Gianni Motti and Marina Abramovic work with telepathic and telekinetic possibilities that arise at this intersection of art and science, as does artist, theorist, and cognitive scientist Warren Neidich. This paper will explore the telepathy of Motti, Abramovic, and Haque through their artistic work with brain synchronicity and electroencephalogram (EEG) interaction, telemetrics, crowd empathy, media clouds, electromagnetism, and quantum physics. Their work is further understood through the prism of current philosophical theories, especially speculative aesthetics that engage the telepathy and telekinesis of quantum physics, as well as Marxist ‘Operaist’ or ‘workerist’...
This paper speculates upon the possibilities of a telepathically enhanced culturalenvironment, wh... more This paper speculates upon the possibilities of a telepathically enhanced culturalenvironment, which might create forms of modulation in the neural networks of the brain.The first uncertain challenge, in the section Telepathy and the Idea of the XSF, is tounderstand telepathy as Extro-Science Fiction (XSF) and show how XSF becomes real.XSF as understood by Quentin Meillassoux is contrasted to science fiction. Particularly Iwill concentrate on Meillasoux Type 2 worlds whose irregularity is sufficient to abolishscience but not consciousness. Through an exploration of the artist practices of RobertBarry, Marina Abramovic, and Susan Hiller employing telepathy, I will suggest these artexperiments produced information that science could not. These artists and their workhave laid the foundation for an integral understanding of telepathy, where telepathy inconceptual art processes are materially engaged with the brain, body and the world.Responding to a wealth of information manifesting in ...
Activist Neuroaesthetics Newspaper (in 3 parts, combined PDF version), 2021
In celebration of the 25th anniversary of artbrain.org, ACTIVIST NEUROAESTHETICS is a festival of... more In celebration of the 25th anniversary of artbrain.org, ACTIVIST NEUROAESTHETICS is a festival of events including a symposium, three-part exhibition, conference, screenings, and publications, developed by lead institution Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz e.V. along with various local partners that will take place online and at different venues on Rosa-Luxemburg-Platz in Berlin over the course of 2021.
A really efficient totalitarian state would be one in which the all-powerful executive of politic... more A really efficient totalitarian state would be one in which the all-powerful executive of political bosses and their army of managers control a population of slaves who do not have to be coerced, because they love their servitude."
Virtual Worlds and Metaverse Platforms: New …, 2011
... details... $30.00 Add to Cart. 8. Virtual Worlds and Reception Studies: Comparing Engagings (... more ... details... $30.00 Add to Cart. 8. Virtual Worlds and Reception Studies: Comparing Engagings (pages 117-136). CarrieLynn D. Reinhard (Roskilde University, Denmark) Sample PDF | More details... $30.00 Add to Cart. 9. Students ...
Lecture Notes in Computer Science, 2009
This paper explores the interactive CD-ROM No Other Symptoms: Time Travelling with Rosalind Brods... more This paper explores the interactive CD-ROM No Other Symptoms: Time Travelling with Rosalind Brodsky, using telepathetic socio-psychological, psychoanalytic and narrative theories. The CD-ROM exists as a contemporary artwork and published interactive hardcover book authored by painter and new-media visual artist Suzanne Treister. The artwork incorporates Treister's paintings, writing, photoshop, animation, video and audio work with narrative structures taken from world history, the history of psychoanalysis, futurist science and science fiction, family history and biography.
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Papers by Jacquelene Drinkall
embodied cognition, Theory of Mind (ToM), Brain Computer Interface (BCI), telepathic art, empathy and spatial competence
Abstract
The article looks at embodied cognition and telepathy aesthetics at the intersection of psychology, science, art, architecture and performance, and proposes a modification of the notion of mental telepathy to that of embodied telepathy, noting that embodiment is the anchor for embrainment and mentalist processes. The brain as that which is anchored in interior spaces of the skull can now be corelated with interior architectural spaces in new ways. Brain Computer Interfaces (BCIs) are pioneering new telepathies for ‘brain injured warriors’, to quote Barack Obama’s DARPA military funding of Thomas Oxley’s telepathic and telekinetic stentrode being developed at University of Melbourne and Royal Melbourne Hospital. The article looks at Oxley’s work with telepathy as an interventional neurologist and his medical augmentations of the brain, and this is contrasted with the theoretical work and telepathic art inventions made by Warren Neidich, especially those launched in three publications at the 2019 Venice Biennale collateral. It introduces my collaboration with Warren Neidich, an artist trained in neuroscience, medicine, architecture and photography who entangles artistic methods with cognitive capitalism and cognitive architecture. Cognitive architecture is a term he uses to describe the coevolutionary processes occurring synchronously and chronologically in the situated techno-socio-cultural milieu and the material brain augmented by the processes of epigenesis and neural plasticity. This approach is especially significant for my analysis of work of Haus-Rucker-Co and their Mind Expander artworks. Furthermore I would like to unpack my ongoing collaborative work with Neidich in ‘Art and Telepathy’ on Artbrain.org’s online Chaoid Gallery. I emphasize embodied and extended cognition as a method with which to link telepathy to utopian sci-fi cave aesthetics proposed by the Haus-Rucker-Co collective. I engage so called Utopian telepathy aesthetics of Haus-Rucker-Co with an earlier model proposed by Buckminster Fuller in order to hack and repurpose, in the advent of telepathy enabled by BCIs and Emotiv bioneuroheadset, to map and refunction the interior spaces of the endocranial brain. The paper looks at techniques of telepathy in art and science to address augmentation acceleration, disability care and neurodiversity, whilst showing how art can delinked from corporate military telepathies.
The talk asks why are so many manifestos concerned with future visions and why do so many reference telepathy? References to telepathy abound in Modern Art manifestos, and recent art and theory manifestos. The most infamous Modern Art manifestos, especially Surrealism and Futurism, directly reference and allude to telepathy. Frantisek Kupka, mentor to Duchamp and peer of Kandinsky, greatly admired the futurist manifesto and developed his own Telepathie treatise manuscript as his art manifesto, fusing aspects of spiritualism, symbolism, cubism and futurist abstraction. Kandinsky’s manifesto Concerning the Spiritual in Art develops telepathy aesthetics, as does Jean Jacques Lebel’s hybrid Fluxus/Happening and 1968 Marxist-anarchist manifesto On the Necessity of Violation, further demonstrating the agility of telepathy to coexist within the apparent extremes of lyrical painterly abstraction and radical experimental neo-dadaist revolution. In 2016, the artist Gianni Motti celebrated the 1916 Dada manifesto with a global telepathy project that I participated in.
More recent manifestos and manifesto-discourses that reference telepathy continue to be concerned with cyborg futures, in work by Franco (Bifo) Berardi, artist Troy Innocent, and noted feminists Lisa Blackman, VNS Matrix, Camille Bacon Smith, and Octavia Butler. Manifesting within futurist telepathy aesthetics is a new ferment of feminism and a realisation that the manifesto itself may be a cultural artefact of haunted word futures and radiophonic-telepathic revolutions. The form of the manifesto itself and telepathy appear to be forms of speculative fictioning. Artists, when acting like philosophers, work with more immaterial labour processes of conceptual and cognitive work with words, semiotics and what communication theorist John Durham Peters refers to as telepathy or the ‘pulling of signals out of the air’. Conceptual aspects of art manifestos involve work with the dematerialisation of art via the predictive, pre-emptive and empathic functions of the Visual Word Form Area (VWFA) of the brain.
FESTIVAL OF FEMINIST FUTURES
Xenofeminism, Cyberfeminism, Ecofeminism with Amy Ireland, Virginia Barrett and Prue Gibson.
A Mini-Reader compiled by Jacquelene Drinkall for Verge Gallery Public Program, Saturday 12th 2015
Accompanying ‘Visual Telepathy’ exhibition by Jacquelene Drinkall, and ‘Feminist September' programming at Verge Gallery, University of Sydney
Gallery’
Program: https://viralcontagion.blog/2020/07/15/affect-and-social-media-programme/
Abstract: I want to look at the telepathy aesthetics of viral culture and contemporary art. Cybernetic and post structuralist theories of linguistics have considered the alphabet to be a cultural plague and cognitive virus. Alphabetic consciousness is inherently telepathic and viral, and emerged alongside agrarian, debt and literary cultures 5 000 years ago. My paper looks at the intersection of viral culture with telepathic culture of crowds as understood by Gabriel Tarde and theorists of affective, creative and epidemic contagion. Further, evidence of telepathic virality is found within science fiction and even within science itself. For example, the Marvel character Black Swan invents a telepathy virus, and telepathy viruses are a recurring motif within science fiction. Within medical science, the Telepath™ Ltd brand is closely associated with the tracking of microbiological infections, zoonotic transfer events, and data of virus patients. Medical data is literally entered into Telepath databases. Further, within medical and microbiological terminology, telepathology is the usual everyday method for diagnosing disease at a distance using digital technology. Endovascular surgeons and technologists are working to intervene in the high incidence of strokes within Covid19 patients using a variety of telepathic and telepathological techniques. The interventional neurosurgeon, stroke expert and tech entrepreneur Thomas Oxley recently developed an intracranial telepathic Brain Computer Interface for his interventional neurology. However, science generally prefers terms such as prediction, pre-emption and affect transfer instead of the word telepathy. The organisation called ‘Predict Ecohealth’ attempts to pre-empt future pandemics by data mapping the impact of capitalist exploitation of nature to viral mutation within wildlife.
The paper/video is in three parts:
1. Viral Contagion in Telepathic Art
2. Telepathy Aesthetics in Contagion Theory
3. Reflections on Telepathology, Science and Science Fiction in the Time of covid19
Conference schedule: https://www.theocculture.net/tspec-vi-bloomington-edition/tuning-speculation-vi-schedule/
Collaborations in Modern and Postmodern Visual Arts | Jacquelene Drinkall The paper investigates the relationship between telepathy, collaboration and politics in conceptual and contemporary art. Conceptual artists and theorists Larry Miller, Carolee Schneeman, Yoko Ono, Joseph Beuys, Jean Jacques-Lebel, Marina Abramovic all worked with telepathy in their collaborative practices in the 60s and early 70s. They worked with telepathy and collaboration to deal with issues of abuse trauma, the repressed feminine, the alchemy of social sculpture, guerrilla revolt and the fusion of mysticism and Marxism. Theorists such as Rosalind Krauss and Lisa Blackman enable further examination of conceptual and body art through an appreciation of the value of telepathy, via psychoanalysis and affect theory, for understanding aesthetic and communicative transmission and contagion. Blackman’s notion of self that extends beyond the individual’s body is crucial. Also key is Krauss’ connection between post-mediumism and the narcissism of telepathy in technologically mediated performance. Further, the paper looks at the late/post-conceptual telepathetic collaborative tendencies and relationship between conceptual artists Robert Filliou, Arakawa and Imants Tillers, as well as discourse connecting the telepathy of Tiller’s with that of Abramovic/Ulay’s collaboration in the 80s and 90s. This leads into an examination of past and recent discourse about Tillers’ subsequent collaboration with indigenous Australian artists Gordon Bennett and Michael Nelson Jagamara. Post-colonial theory of William Du Bois reflects on the relationship of psychic andpolitical states. Finally, the paper looks at contemporary artists, 90s – 00s, such as Bracha Lichtenberg Ettinger, Jane and Louise Wilson, Gianni Motti and various ways they have connected telepathy to intersubjectivity, collaboration and crowd consciousness. Younger Australian artists Ms&Mr, Veronica Kent and Sean Peoples and Gabriella Mangano and Silvana Mangano could be seen to be consolidating a nexus between telepathy, collaboration and narcissism. How is it possible, or indeed necessary, to locate these young Australian artists within an emerging genealogy of the politics of telepathic collaboration? How does their love extend to the social? Jacquelene Drinkall has lectured in a range of full-time, sessional and casual positions at Canberra School of Art at Australian National University; College of Fine Arts at University of New South; Design Lab, Faculty of Architecture at University of Sydney; and School of Creative Arts at James Cook University. She holds a PhD in Art History and Theory, Masters by Research in Visual Art and a BA in Visual Art (Painting). Jacquelene has received many awards and grants such as Curriculum Refresh grant; NAVA grant; two COFA Student Art Prizes; an Artspace residency; a Cite International des Arts Paris residency; Australian Postgraduate Award; Marten Bequest; Telecom Travelling Scholarship; Janet Johnston Award; two AGNSW awards; University Medal; and she was a 7 time finalist and 5 time exhibitor in the NSW Helen Lempriere Travelling Art Scholarship.
All that is Solid: telepathy as a hybrid object of modernity and beyond
“Art is a tool of telepathy.” Ugo Dossi homepage.
“Artistic activity is founded on high-telepathy [. . .].” Jean Jacques Lebel, 1968, “On the Necessity of Violation.”
“The most passionate investigation of telepathic processes […] will not say half as much about reading (which is an eminently telepathic process), as the profane illumination of reading about telepathic phenomena.” Walter Benjamin, 1991, “Gesammelte Schriften [Collected Writings].”
The thesis investigates the theme of telepathy as it appears in art discourse whilst taking into account the relationship of telepathy itself to art. Specific attention was given to contemporary artists’ use of the body and new technologies used in performance and conceptual art as well as exploring the complex and multiple metaphors for telepathy employed by artists, historians and theorists. The thesis argues and reveals that telepathy is an under-represented topic in the recent history of modern, conceptual and performance art. From this research, a counter-discourse, or ‘secret history’ of dominant and canonical art is revealed. It reflects the specific aspects of telepathy in 20th century art, focussing primarily upon the recent/current post-media conceptual art scene in Europe where key instances reside in the art of Jane and Louise Wilson, Suzanne Treister, Marina Abramovic and Susan Hiller, and also includes artwork undertaken by myself.
1a) Jane and Louise Wilson: hypnotically ‘spaced’ forensic twins
This chapter brings to light telepathy as a hybrid visual, theatrical, psychological, technological and conceptual device stretched across, folded and hidden within a number of different aspects of the art of Jane and Louise Wilson. Identical twins, born in 1967, Louise Wilson studied Fine Art at Duncan of Jordanstone College of Art and Design, Dundee, while her twin remained in Newcastle, where they had grown up and studied art at the polytechnic and created a completely identical work called Garage, 1989, for their final exams. They moved to London in 1990 and enrolled at Goldsmiths on the same application form. As twins who operate complex aesthetics and puns of the double, the Wilsons are perfectly poised to tease us with promises of telepathy. They collaborate to explore dyadic perspectives and stereoscopic visions through photography, video and sculptural installation. They are best known for their split-screen film installations, which “in the hands of the twins the device structures instead a dangerous liaison of selves.”
3a) Susan Hiller: psychical researcher and weirdness investigator
The chapter investigates the ways in which artists who have engaged with telepathy and psychic phenomena have externalised their work in the form of ‘experiments,’ performances, and activities. Artistic engagement with telepathy has often taken the form of experiments modeled on both scientific activity and also on mystic activity. I intend to show that the models of experimentation that artists have used have made a significant difference to the ways in which they have understood telepathy. A key instance is the work of Susan Hiller, a British-based U.S. artist whose work on dreams and telepathy in a Conceptual Art context has heavily relied on the notions of the ‘experiment’ and ‘research.’ Although Surrealists most clearly constructed research situations in their work in the 1920s, I intend to show that Conceptual Art in the 1960s and 70s re-established the paradigm of the experimental situation and that this was also closely tied to a concern with telepathy and telepathetic-like phenomena.
Graduate Diploma Unit in Foundations of University Learning and Teaching, Tasmanian Institute for Teaching and Learning, University of Tasmania. Completed: High Distinction for major essay on Constructive Alignment worth %65 of grade; Distinction for Teaching Philosophy worth %20 of grade; Distinction for Learning Activity and Assessment Design %15 of grade. Overall result: High Distinction