1/4 Will images and projections from #Science replace all need for personal experimentation, as we end up seeing all the obscure processes of our consciousness, clearly & lucidly outside of us? Will this conjunction of #art and science lead to new types of...
2/4 ...lucidity, a clear-headed thinking, where altered consciousness will be viewed with aesthetic fascination, rather than with compulsive physiological dependency? We will continue to see what was so far invisible. #aesthetics#image#future
3/4 Example: Art and science venture, Sensescapes, creates an exhibition #Space with projected light and immersive music created from brain data of people in altered states.
1/4 Following from the ThoughtLab’s previous post, and keeping-up its ‘pre’post·erous unfolding, this third ThoughtLab-thought has to do with space [[i.e. positing ‘positions’]] in addition to time [[i.e. dealing with ‘durations’]]—in this case with ‘superpositions’ and...
2/4 ...the ‘stacking’ of spacetime{s} afforded by new kinds of computing: namely quantum rather than classical computing/machine-learning. In Frank Herbert’s novel Dune, his humans-of-the-future can physically and conceptually ‘fold space’ with the assistance of accelerating...
3/4 ...technology and consciousness-expanding spice-supplements. At present and in the only-slightly-less-fictional [[&/or alternative-fiction]] world of our current reality, quantum computing looms large and leans heavily in similar directions.
1/4 A choreographer (a singer, a reader, a thinker, a, a, a) sets something in motion—a refrain machine. He begins by presenting a body, a voice, sliding across a range of registers--reciting poetry, singing, expressing poetic nuance in vocalizations,...
2/4 ...expressing, gesturing, moving, dancing. These words are too static to capture the quality of the in-between which is the fullness of what becomes present in Bsides. The slippery chain, the refrain, of yet another collaboration, makes it impossible, wondrously so,...
3/4 ...to find a referent in an artwork stable enough to capture in writing. To refer to the piece is challenging, for it exists for us only in a brief interval of time, the time of contact, contingent, fleeting, changeable—...