My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Modern technology presents new challenges and possibilities to the environment and life on earth. It is argued that ecology as the science of the earth as a whole cannot provide the means for making technical decisions pertaining to the environment. An alternative means is suggested in which modern technology provides the medium for communicating with nature, so that a dialogue, an intruding in and listening to nature, becomes the basis both for seeing modern technology in a new light and for (...) living with modern technology in a new way. Some theological ramifications are also explored. (shrink)

what is the ontology of planets?Our access point to this question is the ontology of planet Earth. Although the presence of life marks planet Earth as special among other planets, Earth shares a basic commonality with them – namely, its material existence. We take this commonality as a point of departure for our reflections on the ontology of both planet Earth and other planets. In this chapter, we ask for the ontology of this materiality of planets. We consult the ontology (...) of planet Earth as I developed it in an earlier contribution (Blok, 2019), explore the ontology of planets as absolute boundary of the natural habitats on Earth, and reflect on the opportunities and limitations such ontology provides for future human colonies on other planets. (shrink)

This contribution considers the world-historical significance of climate change. Climate change unmasks the stability of the living and acting in the world of human and nonhuman existence and confronts it with its living and acting on Earth, shifts the attention from World to Earth, and raises the question about the place of human and nonhuman existence on Earth. To answer this question, this chapter moves beyond humanist and post-humanist positions and argues for earth and world interest in times of climate (...) change. First, an ontological concept of World is rehabilitated, which enables to distinguish between the Holocene World and the Anthropocene World. As climate change also confronts with Earth as exterior milieu beyond the interior milieu of the Anthropocene World, the chapter subsequently criticizes the self-interest of philosophers of the twentieth century and argues for world interest in times of climate change. It is argued that world interest should not lead to world production, whether it is found in a productive act by the Earth or by humanity, as world production is accompanied by Earth alienation. A gestalt-based understanding of the givenness of Earth as noncausal ontic-ontological ground of the givenness of World is developed. The conceptualization of World and Earth in this chapter helps to differentiate between the often ambiguous uses of these concepts in environmental philosophy and contributes to contemporary debates in philosophy of climate change. (shrink)

Following the traces of Margaret Mead’s statement that emphasized that the first photographic images of the Earth from space presented notions of fragility, the article contextualizes the recent critique of the dominant representation of the Earth as a globe that emerged in conjunction with the discourse on the Anthropocene. It analyses the globe as an image and the sentiments that accompanied it since the first photographs of our planet from space were published in 1968. The article outlines how the cultural (...) meaning of the whole Earth representation changed in parallel with the appropriation of the image by the large technological enterprises that emerged from America’s counterculture. It returns to the possibility of a coexistence of ‘views from within’ and ‘views from without’ following a detour with Gregory Bateson via Bali and proposes a Cybernetics of Grace as a practice of resistance against pure exteriority. The article concludes by linking the Cybernetics of Grace with the second-order conversations of Gordon Pask. (shrink)

Bio-art epitomizes a coalescence of art and sciences. It is an emerging contemporary artistic practice that uses a wide range of traditional artistic media interwoven with new artistic media that are biological in nature. This includes molecules, genes, cells, tissues, organs, living organisms, ecological niches, landscapes and ecosystems. In addition, bio-art expands into conceptual art using biological processes such as growth, cell division, photosynthesis and concepts of the origin of life and evolution, explaining them as new artistic media. In this (...) time of global challenges, bio-art communicates thoughts and feelings that involve relationships between the artist, science, public and the biological organism or biological concept. This article reviews the major challenges and driving forces that contributed to emerging biology-centered art and design. (shrink)

(2013). Complexity and Transdisciplinarity: Reflections on Theory and Practice. World Futures: Vol. 69, The Complexity of Life and Lives of Complexity, pp. 200-230.

This paper focuses on the question of What kind of engineering ethics (EE) is needed to develop holistic engineers who can practice and promote the principles of sustainable development? -/- It is argued that, given the existence of other models, an approach to EE, as argued for at EESD 2016, centred on “training engineers for handling ethical dilemmas in sustainability contexts” (Lundqvist and Svanstrom 2016) is inadequate to address the sustainability challenge facing engineers.. We contend that while EE is now (...) a diverse and fragmented field sociological tools can be used to understand this diversity. A framework is offered for understanding different approaches. This is used as the basis for arguing for a more extended and broad approach which allows us to focus on the relationship between social structure and human action and the need for “adequate social institutions and structures” (Becker 2012: 28) to enable ethical action. Thus engineers not should only understand the constraints and enablers emanating from the environments in which they work but can also strive for change in these environments. (shrink)

With the advent of CRISPR and gene drive gene editing technologies, synthetic biology is paving the way towards a world where humans have the capacity to rapidly design and re-design lifeforms. With little oversight and agreed upon governance structures, how will we ensure that these technologies are used for the greatest good? As we begin to actively design evolution, how might we decolonize this science? Privileging alternative forms of knowledge production and ethical frameworks from Indigenous peoples and spiritual ecologists in (...) order to shape a preferred future for the planet in the era of synthetic life. (shrink)