This article aims to explore Kazuo Ishiguro’sNever Let Me Gowithin the Foucauldian theoretical framework in order to analyse the manifold biopolitical issues, namely cloning, by stretching the discourse to a speculative, dystopian posthuman scenario wherein the dominant, privileged, affluent human society replenishes them by incorporating bio-matter from the clones. The article also proposes to unfold the myriad ways the institutions, namely Hailsham and recovery centres in the novel, exercise power and execute power relations with the clones. It describes the way (...) these institutions turn out to be what Foucault calls the regimes of truth and how the clones choose to remain docile to the institutional power, and consequently, they turn out to be rich sites for both medical gaze and disciplinary gaze. Nevertheless, the article also details the procedures by which the bizarre truth of organ donation of the clones is buried under the technical discourse of good work. (shrink)

Aesthetic experience is original, dynamic and ever-changing. This article covers three research questions (RQs) concerning how immersive installation artworks can elicit emotions that may contribute to their popularity. Based on Yayoi Kusama’s and Peter Kogler’s kaleidoscopic rooms, this study aims to predict the emotions of visitors of immersive installation art based on their Twitter activity. As indicators, we employed the total number of likes, comments, retweets, followers, followings, the average of tweets per user, and emotional response. According to our evaluation (...) of emotions, panic obtained the highest scores. Furthermore, compared to traditional machine learning algorithms, Tree-based Pipeline Optimization Tool (TPOT) Automated Machine Learning used in this research yielded slightly lower performance. We forecast that our findings will stimulate future research in the fields of data analysis, cultural heritage management and marketing, aesthetics and cultural analytics. (shrink)

The primary question this article deals with is one of ontology. In a dystopian world populated with genetically engineered windups and hybrids, what constitutes ‘the human’? This article looks at how the posthuman body in a dystopian novel like The Windup Girl, set in a world where geographical, political, social, economic and religious norms and boundaries are erased and reconfigured, can in no way simply remain a mere body, but transmutes into a highly complex political and social site from whence (...) multiple relations of power originate, travel and culminate in. The titular character in the novel, Emiko, is a genetically engineered windup created in a laboratory, with obedience and the need to please etched right into her DNA. This makes her a prized possession for a brothel owner in Bangkok, once her Japanese master abandons her. She is both desirable and revolting to her customers at the same time – her perfect body is too perfect, her genetic urge to please at any cost draws them in, but her involuntary shaking and robot-like jerking disgusts them. The windup can thus be seen as both the Lacanian object cause of desire and Kristeva’s abject body. (shrink)

The rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in art, (...) beyond the market? This research complements existing empirical work, by conducting a case study and interviews with members of DADA, a historic NFT art project which is particularly critical towards the role of the art market. The findings foregrounded five roles that NFTs play in art: as (1) a tool for systemic change, (2) a new way to community, (3) a ritual artefact, (4) a means for preservation and (5) a new medium. (shrink)

This article introduces a novel use of technologies to visualize space and temporary structures in public space as a critical and speculative method for artistic research. Imitation and iconification have been vital in visual culture since civilization began. Science has become proficient in picturing invisible matter and numerical data. However, we are limited to visualizing these data in an iconic, ‘understandable’ way, that is, to some extent, reductionist. A non-naturalistic artistic visualization (NNAVi) method is proposed to discover and present the (...) underlying context of objects and space. First, this article discusses the representational function of artistic images and the artistic use of emerging technologies to represent invisible information. Following the discussion, the case study of the virtual reality (VR) artwork The Last Recreational Land shows how NNAVi can be applied. The case study starts with an exploration of the pandemic’s context and nature and then moves to an explanation of the multisensory and immersive setting of the artwork. Interweaving case studies and theoretical references, the article elaborates on how the VR experience is used as a device to respond to the pandemic. By deconstructing the relationship between visualization, imitation and iconification, the article theorizes NNAVi as a new methodology for artistic research that provides tangible insights into the nature of the pandemic. (shrink)

As digital and immersive architectural installations and augmented reality applications generate new sensations, new digital dimensions and boundaries create new perceptions of our built environment. Digital architectural installations as immersive environments make data visible and tangible and give access to data as an experiential flow. Like the works of Refik Anadol, TeamLab or Universal Everything, digital architectural installations point to a neuroarchitectural and neurophenomenological atmosphere that refers to the understanding and measurement of embodied human experience, and how spaces affect people (...) and how they behave in a given setting. The objectivity of the screen allows viewers to observe through screens, and the screen as an ambivalent object provides a physical interface that transcends the shadow of its materiality, transforming the viewer’s environmental perception. Therefore, this article examines digital architectural environments that reveal the boundaries of architectural space, with particular consideration given to neuroaesthetics. In these data-driven environments, the human body is at the centre of multimodal perception. Therefore, these environments open the door to understanding the boundaries of architecture and invite the viewers to explore the boundaries of art and architecture that have become a fusion in the digital environment. (shrink)

Puhpowee translates as the force that causes mushrooms to push up from the earth overnight. Biologist Robin Kimmerer was stunned that such a word existed. For all its technical vocabulary, Western science has no such term, no word to hold this mystery. You would think that biologists, of all people, would have words for life. But in Western scientific language, terminology is used to define the boundaries of our knowing. What lies beyond our grasp remains unnamed. A citizen member of (...) the Potawatomi Nation, Kimmerer immersed herself in a Post-it note world of words from this almost-lost language and unexpectedly crossed into an unsuspected grammar of verbs—and a connective new worldview. (shrink)

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics (...) provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards. (shrink)