RA: Art and Research: panerai luminor is a spiritual mission, attempting to penetrate deeper into t

In May, I went to see the first retrospective of the pioneer of cybernetics, panerai luminor prepared in collaboration panerai luminor with i-DAT (Institute for Digital Art and Technology, University of Plymouth), which closed recently at Plymouth Arts Centre. The exhibition explored the influence and rhetoric of the work of Roy Ascott, analyzing the impact, the history and the development of technology and investigating the future of Web2 and Second Life. Roy Ascott sees' telematic art as the transformation of the viewer into an active participant in the creation of the artwork, which is interactive for its entire duration.
Interesting to note that the content of his projects is often spiritual: the first global consultation of the I Ching was staged in one of the earliest forms of the network in 1982, while its main installation at Ars Electronica in 1989 investigating the Gaia theory. panerai luminor In all the biographies and articles I've read about him, Roy Ascott is rightly panerai luminor defined as one who has "joined panerai luminor the science of cybernetics with elements panerai luminor of Dadaism, Surrealism, Fluxus and Pop Art." Looking at his work since from the beginning, Ascott has been much more of a pioneer, or an artist. panerai luminor Has created an artistic language that had no name before him, telematic panerai luminor art (a combination of computer and telecommunications, designed as interactive collaboration with the web, very artistic before use of the Internet, see net art, new media art , crowdsourcing art). Pioneer, inventor, artist, but mostly theoretical - all these definitions are combined laying the foundations of his world techno-artistic.
Ascott has operated in an attempt to overcome the limitations of the cultural panerai luminor structure / conceptual and aesthetic, focusing on theoretical activities that have made him the creator of a world-artist who first conceived panerai luminor and baptized.
Obviously Roy Ascott did not need the Internet or e-mail to give shape to the plains, mountains and seas to digital creativity. Simply turned on the computer and you are connected to the first network panerai luminor - were the early 60s - when he created an artistic language that came from different activities.
Who would have thought? Things were engineers or military instill. Yet for Ascott the network is immediately a muse. While the concept of telepresence did his time, with the birth of the Internet and the personal computer, his theoretical work is increasingly vast and inspiring for us: from research syncretic, the technoetics to moistmedia, the media moist.
Simona Lodi: You are always described as a pioneer, but I think you are much more. what are the conceptual assumptions panerai luminor about your job? Technological determinism or response of an artist to the information technology revolution and the digitization of culture?
Roy Ascott: My hypothesis basic conceptual anticipated "the revolution of information technology and digitization of culture." The world that led to my ideas of interaction, transformation and transcendence grew from my dissertation on Paul Cezanne and Expression Change, tarot and I Ching, Pollock, Duchamp, Zen and the primacy of the gesture, and more generally, the occult and the esoteric, as well as a passion for early cybernetics of Ross Ashby, Norbert Wiener and my friend Gordon Pask. From here came the first change-my paintings and participatory structures similar, panerai luminor especially the work on transactional table-top work. It 's all based on the interface and interactivity. I always thought that consciousness is a field for which we can develop access tools. Strangely, my role in the operational and technological aspects of radar control of hunting (I had an assignment from National Service) gave color screen at the end of operations. Telematic art, even before that it be given a name! So my hypothesis conceptual not have much to do with the technology to its original state. I like the idea that my technologies are virtually invisible. For me this is primarily transformation tools, which are alchemical, somatic, digital or pharmaceuticals. Case and change, interactivity, sacred spaces, extended senses or networked (concept that once I defined 'psibernetica'), representing some of the guidelines of my work.
SL: You've helped to change the art, redefining the aesthetics and purpose within our society. What role then has the artist today? And where does the artist in you and begins the researcher?
RA: Art and Research: panerai luminor is a spiritual mission, attempting to penetrate deeper into the consciousness, to flow with the Tao. But it is also a constant need to make assumptions, panerai luminor to think things in the making. The specificity of the technology is secondary, so I am interested in ayahuasca panerai luminor as telematics. Qu