Volume 7 marks the end of Ubiquity, weaving a thread through 50 years of Leonardo.
Volume 7 marks the end of Ubiquity, weaving a thread through 50 years of Leonardo, the Balance Unbalance Conference series and an immersion in ecologies, domestic things and quantum states.
17–23: Eco art: Art is life and life is embedded in nature – NINA CZEGLEDY: Abstract Nature may be considered as the world of living organisms and their environment; in a larger sense, the shape of nature can also be understood to include particular extents of space and time. The visual perspectives of nature form a particular course that begins with the earliest historical depictions and might be currently expressed by a variety of cross-disciplinary contributions. The diverse perspectives form eclectic threads that today are frequently manifested within the eco-activist art movement. Several of the contemporary ecological art projects are grounded in explicit experiences and connections to specific spaces relevant to where the work is created. The local or international ecological labs, experimental urban gardens, projects on the migration of plants and the creation of new species included here are all new models contributing to a speculative future culture. E-mail: czegledy@interlog.com
25–36: Between Us: Desire, touch and seduction as immaterial agents in augmented sonic artworks – JANE GRANT: Abstract New media has expanded our experiences of art forms from the retinal to the immersive and embodied. This evolution offers novel experiences as we push the boundaries of these emerging technologies. Recently, I have been working with augmented reality headsets. These headsets sometimes separate us from the physical and the sensory, substituting the world of matter for the virtual. My research questions whether the exchange of the sensory for the digital provides an opportunity to redesign experiences that act upon the body? Developing sound design to create the illusion of touching, could our skin become a site where artworks are experienced? E-mail: J.Grant-1@plymouth.ac.uk
37–46: Weaving quantum chaos – PAUL THOMAS: Abstract: No matter how hard we strive to be certain, absolute certainty cannot be achieved. The article focuses on chaos to identify, conceptualize and visualize a liminal space between the classical and quantum world, where everything is in some state of chaos. The article asks questions of visualizing the invisible, indiscernible and unfathomable quantum world of subatomic particles. This quantum artistic research examines a role of atomic and subatomic particles in the search for consciousness, materially, ethically, scientifically and culturally. The burden of molecular ethics and aesthetics of care are discussed to enable a critique of the information given to us by science. E-mail: p.thomas@unsw.edu.au
Leonardo: A ‘mind space’ in transit – CHRISTIANA KAZAKOU: Abstract
This ultimate Archaeology celebrates the legacy of Leonardo, an idea that became a Journal that developed into a global transdisciplinary community. The author reflects on the last half century of innovation in the practice of art and science that has galvanized generations of creative practitioners entangled in the turbulence of transdisciplinary thinking. In tracking the emergence of this mind space, this Archaeology projects to the future where Leonardo has a vital role to play in engaging and shaping new world perspectives. E-mail: christiana.kazakou@plymouth.ac.uk / Web address: www.i-dat.org/christiana-kazakou
Lab report: Balance-Unbalance. Ecology and citizenship – RICARDO DAL FARRA Abstract It can be difficult
Ubiquity, an end piece – MIKE PHILLIPS & CHRIS SPEED A little synthetic autopoetic GPT-2
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intellectbooks.co.uk – Free Issue
Ubiquity: a paranoid manifesto
M. Phillips and C. Speed
‘Ubiquity’, the ability to be everywhere at the same time, a potential historically attributed to the occult is now a common feature of the average mobile phone. This journal anticipates the consequences for design and research in a culture where everyone and everything is connected, and offers a context for visual artists, designers, scientists and writers to consider how ubiquity is transforming our relationship with the world.
Ubiquity is a peer reviewed journal for creative and transdisciplinary practitioners interested in technologies, practices and behaviours that have the potential to radically transform human perspectives on the world. The title refers explicitly to the advent of ubiquitous computing that has been hastened through the consumption of networked digital devices. The journal anticipates the consequences for design and research in a culture where everyone and everything is connected, and will offer a context for visual artists, designers, scientists and writers to consider how ubiquity is transforming our relationship with the world.
In embracing these aspirations Ubiquity recognizes the transgressions and trauma that are implicit in the inevitable cultural shifts that will follow. As well as providing opportunities for enriching human experience these technologies and entangled practices bring with them neurosis and paranoia.
Ubiquity focuses on contemporary practices that engage with these technologies and behaviours within the creative arts (design, architecture and art) but more importantly explores the impact these technologies are having on synergies between disciplines and the broader cultural context. We envisage the journal as an instrument that seeks to establish critical and creative frameworks and methodologies that effectively articulate and nurture innovation in this field.
Ubiquity adopts a networked publishing strategy that is underpinned by creative practice and the reflexive application of these technologies through workshops, collaborations, commissions, seminars, field work, documents, conversations, interviews, media archaeology and data streams. Built around heavily illustrated articles, Ubiquity adopts a pragmatic and open approach to the dissemination of practice within this emergent field. The journal offers a context for experimentation through interdisciplinary collaboration and access to ‘instruments’ that encourage a reflexive reinterpretation of disciplinary practices.
In response to this the journal is structured in reflexive interplay between people and technologies, histories and futures and thinking through making. Each journal begins with three core complementary articles.
The journal invites contributions on subjects such as:
- The evolution of media forms as they seep off the page and screen and into the environment
- The emergence of the ‘Internet of Things’ and the advent of spimes, blogjects and ambient intelligence
- The consumption of networked digital devices and the transgressions and trauma implicit in the cultural shift that follows
- The behaviours and technologies that cultivate a networked culture
- New inter-disciplinary vocabularies for understanding a social, environmental and technical sense of ‘place’
Guidelines for contributors are available on the Intellect website:
http://www.intellectbooks.co.uk/page/index,name=journalresources/
Editors
Mike Phillips, Professor of Interdisciplinary Arts, University of Plymouth, School of Arts & Media, Faculty of Arts. mike.phillips@plymouth.ac.uk.
Chris Speed Chair of Design Informatics School of Design
Edinburgh College of Art University of Edinburgh. c.speed@ed.ac.uk
Editorial and Production
Jane Macdonald Edinburgh College of Art, at the University of Edinburgh. jane.macdonald@ed.ac.uk
Editorial Board
Peter Anders, Architect, Kayvala Consulting, USA.
Gianni Corino, Plymouth University, UK
Elisa Giaccardi, Professor, TU Delft
Paul Green, Senior Lecturer Media Communications, Cork Institute of Technology, Ireland.
Andy Hudson-Smith, Director of CASA, Lecturer and Senior Research Fellow in Urban Planning and Geographic Visualisation, University College London, UK.
David McConville, Elumenati.com, USA
Rocio von Jungenfeld, Researcher / Artist, University of Edinburgh, UK
Jon Rogers, Senior Lecturer, Mechanical Engineering and Mechatronics, University of Dundee, UK.
Jen Southern, Independent Artist / Researcher, Lancaster University, UK.
Paul Thomas, Curtin University / University of New South Wales, Australia
Claudia Westermann, XLarch, Xi’an Jiaotong-Liverpool University, China
The Archaeology section of Ubiquity explores historical precedents for the artefacts and processes that we now know as ‘pervasive media’ and the ‘Internet of Things’. Ubiquity begins to unearth some of the ideas and artefacts that had the morphogenetic symptoms of contemporary media technologies and practices. These symptoms range from concepts manifest before their time and technologies that were out of sync with social or cultural preoccupations. The Archaeology of Ubiquity explores the genetic heritage of the things that surround us and the things that got lost on the way, disappearing down an evolutionary cul-de-sac or obliterated by faster smarter entities.
Acknowledging the situated nature of ubiquitous experiences the journal hosts a practical symposium between each edition. Entitled ‘Labs’ the intention is to explore a variety of non-standard media technologies/practices (such as scanning electron microscopy, RFID tagging and plant biology) that challenge conventional notions of cultural production. These Labs often use technical and cultural instruments as a focus that allows a syllabus to be evolved reflexively according to the different participants and stakeholders. The Lab model provides an intensive burst of activity that ignites a production process and a conversation between participants from different backgrounds. They allow collaboration in areas with people outside of their comfort zone and provoke a proactive engagement with broader issues to their own disciplines. This enables an engagement with non-familiar, non-standard practices and also unlocks interdisciplinary relationships.
These technologies and associated practices open up new understandings of the world. More dimensions are unveiled, more realities are modelled and more truths envisioned, but framed within isolated disciplines these new visions of reality are lost to the broader culture. There are more things in heaven and earth than currently understood in our media philosophy.
In contrast to the media archaeology section, Ubiquity attempts to capture exploratory and emergent research by probing the zeitgeist through interviews with contemporary practitioners. Interview with Felipe Cardona, Professor at Pontificia Universidad Javeriana, Bogota (colombia) and mobile filmmaker.
Ubiquity Interviews will often be contextualised by their location and recorded during a process of designing or making. Ubiquity Interviews reinforce the contemporary nature of this emergent field and tackles perspectives from a range of disciplines.
In addition the reviews section identifies and interrogates peculiar symptoms of the ubiquitous condition. From the proliferation of the urban chicken to networked toys this regular feature of reviews hopes to reveal the playful transgressions and aberrations of living in a network society. Future issues will explore the domestic fermentation and the rise of bacterial colonies in the home (Kombucha Tea) the death of paper and nano cosmetics.
Aleph explores the emergence of international ubiquitous design laboratories and studios. There are places that that break down disciplinary boundaries and envision new possibilities..
Some would call them: Chrono-synclastic Infundibulum
These places are where all the different kinds of truths fit together as nicely as the parts in your Daddy’s solar watch. We call these places chrono-synclastic infundibula.
(Vonnegut, 1962)
others the: Total Perspective Vortex
she saw in one instant the whole infinity of creation and herself in relation to it
(Adams, 1980)
We chose: The Aleph
Yes, the only place on earth where all places are – seen from every angle, each standing clear, without any confusion or blending.
(Borges, 1945).
Adams, D., The Hitchhiker’s Guide to the Galaxy. 1980.
Borges, J., The Aleph. 1945.
Vonnegut, K., The Sirens of Titan. 1962.
Backed up from: Ubiquity
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