2 03 2009

takuro osaka

Prof Takuro Osaka , Japanese, 1948, Professor of Comprehensive Human Sciences University of Tsukuba, http://www.takuro-osaka.com, osaka(at)geijutsu.tsukuba.ac.jp
Member of IEAD (Institute of Environmental Art and Design) and the pilot mission applying cultural-social sciences, JAXA. Pioneer of light art in Japan. Major representative works include the “Cosmic Ray Series” and “Lunar Project”. He experienced Zero G Art on a parabolic flight. His art will be exhibited at the ISS between ’08 and ’10.


2 03 2009



Anthropic Entity1

Gil. & Geo. Color UnCrop.

Anthropic Entity(s) 2


Anthropic Entity(s) 3

Recent trends have made it clear that simulation model fidelity and complexity will continue to increase dramatically in the coming decades. For example, the beginning of the mission to build a simulated brain is already announced (Graham-Rowe, 2005). Using intelligent agents in simulation models is based on the idea that it is possible to represent the behavior of active entities in the world with their own operational autonomy. . . . The factors that may affect decision making of agents, such as personality, emotions, and cultural backgrounds, can also be embedded in agents. . . Abilities to make agents intelligent include anticipation, understanding, learning, and communication in natural and body language. Abilities to make agents trustworthy as well as assuring the sustainability of agent societies include being rational, responsible, and accountable. These lead to rationality, skillfulness, and morality (e.g., ethical agent, moral agent). 4

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2 03 2009

Tim Clark, Canadian/British (Dual Citizen), 1945, Associate Professor at Concordia University, Intermedia & Cyber Arts, http://imca.concordia.ca/ and researcher at Hexagram: Institute for Research/Creation in Media Arts and Technologies, http://www.hexagram.org/spip.php?page=home&lang=en&sid=0. Professor Clark works in the areas of Theological Aesthetics, Film Studies, and, issues of Philosophy of Mind and AI research. Amongst the projects he working on is a critical examination of the historical inter-relationship between ‘The Argument from Human Creativity’ and attempts by computer scientists, philosophers, and, cognitive and neuro-scientists to formulate an implementable, theoretical model of ‘Strong Artificial Intelligence’.


2 03 2009


At a NASA sponsored conference on Human Systems I reminded the audience of the impact that a photo of the earthrise over a moonscape had on the perception of our planetary condition. The making of this image marked an important moment in the history of human experience. I suggested that a similar event may mark the first voyage to Mars when the blue planet fades into the background of stars before the red one becomes prominent. The sense of profound isolation may not be pleasant but should make for an interesting moment of reflection. One similar to, but I expect orders of magnitude greater than, when mariners first ventured out of sight of land. These experiences have value to our culture in that they shape our understanding of ourselves. Much of what can be learned about extreme environments will be in the form of data, measurements that we can compare to others that we have made in order to shape an understanding of the new in relation to the known. Some have suggested that extreme environments such as those found in extraterrestrial, undersea or polar environments require interrogation by robotic and remote sensing techniques rather than by human exploration and habitation. While these techniques are capable of providing representations that can be understood intellectually, they are incapable of providing a direct experience. Others argue that human beings are the most robust and versatile autonomous control systems available and must be included on missions for that reason. But beyond functionality and instrumentality, arguments that will be continuously eroded by technological innovation in any case, I argue for the irreplaceability of human presence in extreme environments on the grounds of human experience.

However, there is a contradiction here. Extreme environments, as noted by Louis Bec (2007) , do not exist a priori but depend upon the relationship between an environment and the organism in question. We count those as extreme that are hostile to life and are able to venture into them only by virtue of our technological interventions. We participate to the extent that we can remain within a protective technological bubble. These technologies reduce or eliminate the experience of the extreme conditions even as they protect the organism from it. But, can technologies be developed to open extreme environments to experience rather than shielding us from them? I believe that prototype devices have already been developed that show how this can be accomplished. Perceptual prostheses of the kind described here will enable the direct perception of hostile conditions from with in the technological womb. While humans are physiologically capable of experiencing many salient features of their terrestrial environment, this may not be the case for extreme and alien environments. These environments may require the immediate awareness of other spectra or conditions by means of technologically mediated perception. Prosthetic perception may become a key enabling technology for the habitation of extreme conditions in addition to providing the principle justification for a human presence in them.

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2 03 2009


Ted Krueger is the Associate Dean of Architecture at the Rensselaer Polytechnic Institute where he directs the PhD Program in the Architectural Sciences. His research interests include Human-Environment interaction, cognition and perception. He is currently developing prosthetic devices that will allow humans a range of experience that is not presently available to them.


2 03 2009


Project Phonethica is an interdisciplinary art project, which explores the world through the phonetics of language. Combining scientific technology with art, Project Phonethica maps out the diversity and similarity of the worlds 6,000 existing languages. Project Phonethica aims at developing a practical strategy for vigorous survival in the post-modernized society, which has been openly enjoying chaos as a conclusion of its own fragmentation.


Project Phonethica began in Tokyo and Paris in 2004, aiming to collect fundamental data through a wide range of interviews with for example: artists, scientists, composers, linguists, phoneticians, anthropologists, philosophers, and sociologists. During this period of time, research has also been undertaken in order to develop Phonethica System – a computer system based on the phonetic feature of language

Figure1_Phonethica System The project will be disseminated to the public in the form of online tools, interactive installations and other media in all over the world from 2007.

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2 03 2009

takumi endo

Takumi Endo, Japanese, 1971, Artist, www.inexhale.net, www.phonethica.net, tkm(at)inexhale.net

Combining scientific technology and art, Takumi Endo seeks out a springboard for further evolution of human beings.

Kunitachi College of Music (Tokyo) / Bachelor of Music [1995]. Agency for Cultural Affairs, Japan (Bunka-Cho): Fellowship [2002]. The City of Paris and The Ministry of Foreign Affairs (France): Fellowship [2003]. POLA Art Foundation (Japan): Fellowship [2004]. Berliner Kunstlerprogramm des DAAD (Germany) : Fellowship [2005]. UNESCO-Aschberg Bursaries for Artists: Fellowship [2006]. Mitoh – Exploratory Software Project/IPA, Japan: Grant – Acknowledged as a “Super Creater” [2006]. MapXXL-Pepinieres Europeennes pour Jeunes Artistes  (European Union) : Fellowship [2007].


2 03 2009


For the last few decades foresighting has been used in private and public organizations to understand and respond to the changing contexts that they could find themselves in. Whereas this was a predominantly reactive stance, foresighting techniques are playing an increasingly active and formative role in forging desired futures. It can be a particularly helpful tool for artists, scientists and business strategists and designers in guiding curiosity and situating innovation in a meaningful socially-aware seat. For example, we can look at the expertise and projects at SMARTlab, University of East London and how these draw upon emerging trends to capitalize on them and direct us to a better, future world.

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2 03 2009

susan stein

Suzanne Stein, Canadian, 1969, Research Fellow in Mobile Technology Futures, University of East London, SMARTlab, www.SMARTlab.uk.com, suzanne(at)SMARTlab.uk.com

Suzanne comes to UEL from Nokia where she was working with both corporate strategy and design functions to think about the future possibilities of their handsets, as well as the London School of Economics where she has been researching the emergence of games as a mainstream expressive form. She also lectures at the Canadian Film Centre in their new media department and has worked as a Mentor in a national Interactive Project Lab in Canada. She was also the Canadian Juror for the World Summit Awards, a UN task force, on innovative content in 2003 and Moderator in 2005. Previous publications include two chapters for the e-content: Voices from the Underground series edited by Osama Manzar and Prof. Peter Bruck, about the state of ICTs in Canada. She is presently working on a book proposal on Social Inclusivity and Mobile Gaming for publication by The MIT Press in 2008.


Prof Lizbeth Goodman, American, born 1964, Director, UEL, SMARTlab, www.smartlab.uk.com lizbeth(at)smartlab.uk.com

Chair in Creative Technology Innovation, Director – MAGIC Gamelab & Innovation Centre, & Director of Studies for the UEL practice-based PhDs in Digital Media, Performance Technology & Informatics. Her main field of speciality is the creation of learning games developed WITH, not only for, people with disabilities and ‘non-standard gamers’. She is widely published, with many years of BBC experience, and is a performer/director and PI of projects for and with NESTA, BBC, Microsoft, Lego, Futurelab, SGI, the Wellcome, et al. She directs the GLAM (Games, Life and Media) Academy, making games for the 2012 games. She is series editor of Emergenc(i)es for MIT Press.


2 03 2009


This paper considers the work of artists, designers, and activists who, since the 1990s, have worked with body covering as survival mechanism and social tool. Individually or within collectives, they call their work art, design, or activism; or all three. The result is a “body of records” of technological, biological, and performable wearables that have not received the attention they deserve, both as art and design, and as vehicles for ideas about threats to species survival and collective experience.

For example, in the early 1990s artists created wearable artworks in the form of survival attire embedded in localized performative events concerned with social connection under adverse circumstances. Lucy Orta is prominent among such practitioners, who formulate clothing the body as critical, social, and ethical practice within an ambient “culture of fear.” (Fig. 1).

1 Fig. 1) Lucy Orta, Nexus Architecture x 50: Intervention Köln 2001.

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