“ Meet The Virtual Headset That Uses Your Eye As A Screen Forbes Also, its “Virtual Retina Display” uses reflected light, which the human eye is best suited to looking at for extended periods, rather than the emitted light we strain to see every day...”
Via Dulcie Mills, Henrik Safegaard - Cloneartist
Scientists are developing the first bionic implant that will help treat mental disorders. Over the next three years Professor Xu-Feng Huang and his researchers from the University of Wollongong in Australia will lead the development of a bionic implant which will mitigate the symptoms of schizophrenia.
Via Jean-Philippe BOCQUENET
We investigate three dominant areas of transhumanism: super longevity, super intelligence and super wellbeing, and briefly cover the ideas of thinkers Aubrey de Grey, Ray Kurzweil and David Pearce.
Via Jean-Philippe BOCQUENET
New technologies and developments in media are transforming the way that individuals, groups and societies communicate, learn, work and govern. This new socio-technical reality requires participants to possess not only skills and abilities related to the use of technological tools, but also knowledge regarding the norms and practices of appropriate usage. To be ‘digitally literate’ in this way encompasses issues of cognitive authority, safety and privacy, creative, ethical, and responsible use and reuse of digital media, among other topics. A lack of digital literacy increasingly implicates one's full potential of being a competent student, an empowered employee or an engaged citizen. Digital literacy is often considered a school-based competency, but it is introduced and developed in informal learning contexts such as libraries, museums, social groups, affinity spaces online, not to mention the home environment. This article recognizes and connects the ways and places we might conceptualize and realize an expanded view of digital literacy that fits today's changing reality.(2013). Digital literacy and informal learning environments: an introduction. Learning, Media and Technology: Vol. 38, Digital Literacy and Informal Learning Environments, pp. 355-367.
Via Andrea Naranjo
... I wanted to propose to you an investigation [recherche] into the history of a word, a still very partial, very localized history. That word is “multiplicity.” There is a very current use of multiplicity: for example, I say: a multiplicity of numbers, a multiplicity of acts, a multiplicity of states of consciousness, a multiplicity of shocks [ébranlements]. Here “multiplicity” is employed as a barely nominalized adjective. And it's true that Bergson often expressed himself thus. But at other times, the word “multiplicity” is employed in the strong sense, as a true substantive, thus, from the second chapter of Time and Free Will onward, the number is a multiplicity, which does not mean the same thing at all as a multiplicity of numbers. Why do we feel that this use of multiplicity, as a substantive, is at once unusual and important? (The concept of multiplicity, Time and Free Will 224-26) It's because, so long as we employ the adjective multiple, we only think a predicate that we necessarily place in a relation of opposition and complementarity with the predicate ONE: the one and the multiple, the thing is one or multiple, and it's even one and multiple. On the contrary, when we employ the substantive multiplicity, we already indicate thereby that we have surpassed [dépassé] the opposition of predicates one/multiple, that we are already set up on a completely different terrain, and on this terrain we are necessarily led to distinguish types of multiplicity. In other words, the very notion of multiplicity taken as a substantive implies a displacement of all of thought: for the dialectical opposition of the one and the multiple, we substitute the typological difference between multiplicities. And this is exactly what Bergson does: throughout all his work he continually denounces the dialectic as an abstract thought, as a false movement that goes from one opposite to the other, from the one to the multiple and from the same to the one, but which thus always lets the essence of the thing escape, that is the how many, the poson [Greek term for “how much”]. That's why in chapter three of Creative Evolution he will reject the question: is élan vital one or multiple? For élan vital is like duration, it's neither one nor multiple, it's a type of multiplicity. Even further: the predicates one and multiple depend upon the notion of multiplicity, and only agree precisely with the other type of multiplicity, that is to say with the multiplicity that is distinguished from that of duration or élan vital: “Abstract unity and abstract multiplicity are determinations of space or categories of the understanding” (Creative Evolution 280-81)...
Via Vincent DUBOIS
«The School of Architecture at Saarland University in Saarbrücken, Germany, have lead a collaborative research project into bionic inspired wooden shell structures. They have designed and built a temporary pavilion, inspired by the material-efficient construction methods found in nature.» - by Dave
«Algorithms only really come alive in the temporal time-frames that they move through. Their existence depends on being able to move freely along time's arrow, unfolding and expanding out in to the universe, or reversing themselves backwards into a finite point. Every form and structure that the universe creates is the result of a single step along that pathway and we're only ever observing it at a single moment. Those geological steps can take millions of years to unfold and we can only ever really look back and see the steps that happened before we chose to observe them. Computational algorithms break down that slow dripping of nature's possibilities and allow us to become time-travellers, stepping into any point that we choose to.
Paul Prudence is a performer and installation artist who works with computational, algorithmic and generative environments, developing ways to reflect his interest in patterns, nature and the mid-way point between scientific research and artistic pursuit. The outputs from this research are near cinematic, audio-visual events. Prudence's creative work, and his blog, Dataisnature (kept since October 2004), explores a number of creative potentials as well as documentating the creative and scientific research work of others that he finds of interest...» - By Mark Hancock
«There seems to be a kind of sub-genre in sound art books: the anthology of historical texts. Perhaps because sound art is still a hybrid which lacks a well defined and acknowledged identity, this attitude towards compiling selections of important texts from renowned artists and musicians seems quite peculiar. Somehow it feels like a huge effort to be exhaustive and consistent, as with a comprehensive CD box collection that tries summarize a whole genre concept or time period in a limited space. That said, the selection made by famous sound art critic Caleb Kelly is definitively worthy and includes contributions from philosophers, curators and scholars. The unavoidability and physicality of sound emerges overbearingly through the texts, as well as plenty of fascinating perspectives on the simple yet multifaceted act of listening. The exponential production of sounds and noise and our ability to define...»
The editors over at Edge.orgasked some of the most influential thinkers in the world — including neuroscientists, physicists and mathematicians — what they believe are the most important scientific concepts of the modern era.The result is "This Will make You Smarter: New Scientific Concepts To Improve Your Thinking," a compilation of nearly 200 essays exploring concepts such as the "shifting baseline syndrome" and a scientific view of "randomness."
We've highlighted 39 of the concepts here, crediting the author whose essay highlights the theory.
This paper argues that our understanding of many human-robot relations can be enhanced by comparisons with human-animal relations and by a phenomenological approach which highlights the signiﬁcance of how robots appear to humans. Some potential gains of this approach areexplored by discussing the concept of alterity, diversity and change in human-robot relations, Heidegger’s claim that animals are ‘poor in world’, and the issue of robot-animal relations. These philosophical reﬂections result in a perspective on human-robot relations that may guide robot design and inspire more empirical human-robot relations research that is sensitive to how robots appear to humans in different contexts at different times.
“ Evolution does not operate with a goal in mind; it does not have foresight. But organisms that have a greater capacity to evolve may fare better in rapidly changing environments. This raises the question: does evolution favor characteristics that increase a species' ability to evolve? For several years, biologists have attempted to provide evidence that natural selection has acted on evolvability. Now a new paper by University of Pennsylvania researchers offers, for the first time, clear evidence that the answer is yes. The senior author on the study, published in the journal PLOS Pathogens, is Dustin Brisson, an assistant professor in the School of Arts and Sciences' Department of Biology. His coauthors include Penn's Christopher J. Graves, Vera I. D. Ros and Paul D. Sniegowski, and the University of Kentucky's Brian Stevenson. ”"It's not controversial that populations evolve and that some traits are more apt to evolve than others," Brisson said. "What we were asking is whether the ability of an organism to evolve is a trait that natural selection can pick." “ .”
Via Wildcat2030, Andrea Graziano
Crockett, a neuroscientist at University College London and Oxford University, specialises in the neurological functions driving human morality and altruism. Which is not to say she's suggesting we find hacks to get around being moral, altruistic beings, but rather hacks that help make us better at doing the right thing.
Via Andrea Naranjo
Regenesis: How Synthetic Biology Will Reinvent Nature and Ourselves [George M. Church,Ed Regis] on Amazon.com. *FREE* super saver shipping on qualifying offers.
Imagine a future in which human beings have become immune to all viruses, in which bacteria can custom-produce everyday items, like a drinking cup, or generate enough electricity to end oil dependency. Building a house would entail no more work than planting a seed in the ground. These scenarios may seem far-fetched, but pioneering geneticist George Church and science writer Ed Regis show that synthetic biology is bringing us ever closer to making such visions a reality.
In Regenesis, Church and Regis explorethe possibilities—and perils—of the emerging field of synthetic biology. Synthetic biology, in which living organisms are selectively altered by modifying substantial portions of their genomes, allows for the creation of entirely new species of organisms. Until now, nature has been the exclusive arbiter of life, death, and evolution; with synthetic biology, we now have the potential to write our own biological future. Indeed, as Church and Regis show, it even enables us to revisit crucial points in the evolution of life and, through synthetic biological techniques, choose different paths from those nature originally took.
Via Socrates Logos
«A few days ago, Chris Salter, along with his collaborators Sofian Audry, Marije Baalman, Adam Basanta, Elio Bidinost and Thomas Spier, premiered n-Polytope, Behaviors in Light and Sound after Iannis Xenakis at LABoral Art and Industrial Creation Centre in Gijón, Spain.
The cutting-edge light and sound environment is an homage to Iannis Xenakis' Polytopes which at the time of their development (1960s-1970s) were regarded as pioneering and radical. Reading articles about the Polytopes, you realize that many of the concepts and structures used to describe them are part of today's new media art and interaction design language: large-scale "multimedia performances", "immersive architectural environments", etc. Xenakis' Polytopes were live performances that merged electronic sound, light shows, and temporary structures. They made the indeterminate and chaotic patterns and behavior of natural phenomena experiential through the temporal dynamics of light and the spatial dynamics of sound. But as ground-breaking as they sound, the polytopes are still relatively unknown...» - Regine
«Relationships between art and nature have been proposed for a long time – although they mostly function on an aesthetic level. The work of Kuai Shen, however, goes far beyond classical observations. His installation 0h!m1gas makes both artistic and scientific advances - creating a closed environment, an artificial ecosystem, defined as "biomimetics stridulation", where a colony of ants lives subjected to video and sound surveillance. The engine of the project is biomimetics, a tool already used for science research and an emerging practice in the art world. Its functioning is based on the observation of nature with the aim of reproducing observed structures. The movement of ants, played by a digital matrix, turns over two vinyl records, which in turn generate sounds surprisingly similar to those produced by the insects. Working as a Dj collective, the ants scratch unconsciously inside a sound system that...» - Benedetta Sabatini
UC Berkeley, Department of Art Practice – Assistant Professor in New Genres ANNOUNCEMENTS Seventh Annual Florida Electroacoustic Music Festival Leonardo Music Journal, Vol. 8 (1998) – Theme: "Ghosts and ...
By Yeohyun Ahn and Viviana Cordova. Type + Code, explores the aesthetic of experimental code driven typography, with an emphasis on the programming language Processing which was created by Casey Reas and Ben Fry.