SELECTED READING LIST:
ABRAM, DAVID - The Spell of the Sensuous - Perception and Language in a More Than Human World
GUMBRECHT, HANS ULRICH - The Production Of Presence, What Meaning Cannot Convey
HEIDEGGER, MARTIN - The Question Concerning Technology and Other Essays
HOFSTADTER, DOUGLAS R. - Metamagical Themas, Questing for the Essence of Mind and Pattern
LYNCH, KEVIN - What Time is This Place?
TAYLOR, TIMOTHY - The Artifical Ape, How Technology Changed the Course of Human Evolution
VARELA, FRANCISCO / THOMPSON, EVAN / ROSCH, ELEANOR - The Embodied Mind, Cognitive Science and Human Experience
WEINER, NORBERT - The Human Use of Human Beings
YAMADA, KOUN - The Gateless Gate
Dan Collins - Breeding the Evolutionary: Interactive Emergence in Art and Education (2002) [link]
Heinz von Foerster & Second-order cybernetics [wiki overview link]
Mitchell Whitelaw - Right Here, Right Now - HC Gilje's Networks of Specificity (2009) [link]
"The aesthetics of digital media flow from a related generality, where sound and image are encoded as fields of data. If a pixel is a number, an image is a grid of pixels, video a stream of images, and each of these numbers can take any value at all, then formally, an aesthetics of digital video is only a matter of finding the right values - fishing around in a space containing all possible digital video. If digital media creates this generalised space, anything at all, the media arts are faced with unavoidable questions: not only what to make - which values to choose, but how to choose them, and why?
Pursuing specificity, and an intensified, material experience of the here and now, it pushes against the generalising tendencies of digital media. By the functional logic of the network, each node is formally identical, and must be effectively insulated from its environment. Ubiquitous computing promises us "everyware" - total connectivity, the complete interpenetration of the network and our lived environment [2]. But if the network is a generalising force, if it erases differences between places, what will life in "everyware" be like? Gilje's work suggests a utopian alternative: networks that are always local in time and space; nodes of right here, right now. Gilje's work strives for what Hans Gumbrecht calls "presence"; a way of knowing the world that is characterised by intense moments of encounter or revelation - aesthetic experiences that place us in the world, and of it, rather than observing from the intellectual distance of interpretation."
Edward Lorenz & Chaos theory [link]
Christian Zanési:
“The sound has to be considered in a musical context, it is not about recognising the sound. It is an expressive matter, and every composer, every musician has some kind of personal sound, a signature sound, so when he transcribes it into his work, into an artistic project, the idea is not to try and play a guessing game – this is this sound, or this is that sound – there is a higher level that belongs to it. And this level is that of the musical relations, expressive relations. When you listen to a concert, for example cello and orchestra you are not pointing out each instant 'this is a cello sound' – you listen to music. And it is the same with sound.”
Making music with fractals (Article)
Audio fractals (article)
Composing with chaos (article)
The Influence of chaos on computer generated music
