Complexity Art & Aesthetic

La presente tesis–obra desarrolla teórica y artísticamente una tecnopoética de la llama para señalar tensiones estéticas y conceptuales en determinados paradigmas tecnológicos frecuentados por el arte electrónico en el campo particular del performance digital. Se desarrollan y amplían los conceptos interfaz y máquina a partir de introducir nuevos enfoques relacionales que provienen de la termodinámica y el pensamiento complejo de Edgar Morin. Se presentan dos derivas de obra performática: Código*Pléyade y Código*Voz-ignis en las que el devenir maquinal del fuego aporta un comentario en torno a la génesis de la tecnología y se reconoce como origen común de todas las máquinas naturales, entre ellas el cuerpo, y de las máquinas artificiales por extensión. La propuesta arquemaquinal entonces funciona como una suerte de zoom out antropotécnico que habilita la reformulación desjerarquizada de las interfaces interactivas hacia un dispositivo performático multidimensional. Propone una reflexión estética, tecnocultural y epistemológica del devenir electrónico del fuego - la transformación instrumental del fuego en electricidad y reducto numérico- en donde se reconocen pérdidas y dispersiones que van aparentadas con la noción de ser en la era digital.

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Tesis de Maestría en Tecnología y Estética de las Artes Electrónicas, Universidad Nacional de Tres de Febrero, Argentina.
Proyecto apoyado por el Fondo Nacional para la Cultura y las Artes y el Consejo Nacional de Ciencia y Tecnología de México a través de su Programa de Becas para Estudios en el Extranjero 2012-2013

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Fractals are mathematical structures under exploration and development in virtually every academic discipline and beyond: “besides mathematics and science, fractals have direct applications in many fields, including music, literature, visual art, architecture, sculpture, dance, technology, business, finance, economics, psychology, and sociology” (Frame & Mandelbrot, 2002, p. 4). Since fractal geometry today is “the only available language for the study of roughness, a concept that is basic and related to our senses, but has been the last to give rise to a science,” (Ibid., p. 11) and ‘roughness’ or unevenness or irregularity is a natural, universal tenet of thought and matter, the science behind fractal geometry unifying it across disciplines holds much promise.

The rise of a multidisciplinary discourse containing measurable -- and predictable – patterns of irregularity is attributed to fractal geometry with the seriousness and playfulness of mathematics at its root. Because of these fundamentals, the newness of the study of fractal geometry lends itself to extreme unpredictability. Since formulas and algorithms create fractal images and patterns, much of the fun and exploration of fractals lies in ability to experience new mathematical conjectures in anticipation of new discoveries.

Such an exploratory method has been developing across the disciplines with diverse jargon but one common language uniting them all, that being this staunchly predictable yet wildly unpredictable mathematical integrity of the fractal, dependent upon the available formula or algorithm used to suggest its creation and level of complexity.

We have yet to discover or unveil a serious application of fractal geometries related to patterns of irregularity in consideration of the work of Irwin Panofsky and the positing of iconography in art history, e.g., or in philosophy with study of Michel Foucault’s architecture of knowledge or history of insanity, which appear to naturally lend themselves to such interrogations.

This research is concerned chiefly with how global media icons as iconics assigned to terrorism are motivated, engineered, choreographed, and represented by all interested parties, and to what psycho-socio-political ends. Initially motivated largely by Marshall McLuhan from an essay on weapons called “War of the Icons,” where I actually enter the conversation today is at the final section of Joseph Tuman’s Communicating Terror: The Rhetorical Dimensions of Terrorism, where Tuman addresses terrorists’ use of codes and cues in their iconic media releases.

I have been working closely with rhetorical analysis of select media events over the past three years and am especially interested in currently available means of establishment for pre-emptive analysis of what underlies the iconic media content that will be indiscriminately channeled across the globe; e.g., motive, message, medium, responsibility, ambiguity of meaning, and possible consequence. With this perspective comes an immediacy that questions the controls and variables at play in the rhetorical processes connecting terrorism with global media entities and channels.

Analysis of the symbiotic, parasitic relationship — between terrorists/terrorism and the media, where they collude and collide — informs much of my research. Their required relationship is best realized today across new media channels in resulting global representations or media moments that, especially because of digital technologies, are iconic: bigger than life, bigger than the moment, dangerous in global scope and impact, acting as virtual subscripts of artificial intelligence with agency in cyberspace..

A series of experiments examined auditory contour formation, investigating listeners' sensitivities to a family of random fractals known as fractional Brownian noises. Experiments 1A and IB looked at identification of contours when 3 different noises were portrayed using variations in the pitch, duration, or loudness of successive notes of a sequence. Listeners could categorize pitch and loudness encodings, but not duration mappings. Experiment 2 looked at the effect of simultaneous presentation of pitch and loudness information, finding that these dimensions combined additively to increase identification of the noise distributions. Experiment 3 looked at discrimination of pitch contours as a function of changing fractal dimension. Discrimination curves approximated an inverted U shape, a finding that is not understandable in terms of sensitivity to differences in fractal dimension per se, nor in terms of "tuned" perceptual sensitivity to statistical regularities of the environment.