Field, coherence and connectedness: Models, methodologies and actions for flowing moistmedia art

Abstract

Abstract This article introduces practical and theoretical investigations in fields of art and technology related to biotelematics, hybridization and transcultural experimentation based on research carried out over the last four years at the Nucleus of Art and New Organisms (NANO). We will approach this subject by considering three main points of view: field theory (Ascott 1980; Nóbrega 2009); the concept of coherence (Ho 1993; Ho & Popp 1989; Simondon 1980); and the state of connectedness (Ascott 2006). These will act as integrative models for the understanding of an emerging hybrid organic structure presented as an aesthetic organism (Nóbrega 2009). The concept of field theory is applied as a working model for the systemic role of information within the immaterial, invisible, dynamical flow that intercommunicates natural (i.e. humans and other living systems) and artificial (i.e. machine) organisms in the process of invention, as well as in the fruition of artwork. In terms of the concept of coherence, we propose the idea of artworks as transducers of energy; more specifically, as resonators of coherent fields that interconnect the artist and audience in an integrated, dynamical whole. Furthermore, we approach the state of connectedness as a fundamental notion for the dynamics involved in the invention, exhibition and absorption of contemporary artworks. NANO Lab’s involvement with artistic research is not only understood as a physical space for experimentation, but also as an environment in which our practice reflects concepts applied in artistic work. In this sense, we can highlight two theoretical references (other than Roy Ascott’s work) which guide this methodology: Humberto Maturana (2001; Varela & Maturana 1992) and the idea of a conserved ‘autopoiesis’, a systematic medium (space) in which all recursive dynamics of reciprocal interactions occur to sustain the survival of life, processes and systems, and where technology can be conceived as a powerful instrument/medium to expand our knowledge about structural and sensitive coherences within living and non-living systems; and, Jorge de Albuquerque Vieira’s (2006; 2009) approach to art as a type of knowledge related to any process that guarantees the permanence or survival of a system based on three major characteristics for the survival of an open system – sensitivity (to operate information flows), memory (to transfer and retain information), and capability (to elaborate or prepare information according to its needs).