MODELING FOR TRANSMEMETIC WORLDS
Can an augmented reality media environment serve as a means of field research into a divergent world, a world of many worlds, and, in doing so, manifest a form of anticipatory art practice, expanding the idea of an artist and viewer to encompass a new environmental and ontological fluidity?
To explore whether the constraints afforded by the new immersive technologies could be applied in modelling not only to fictionally present phenomenological domains, but also —through specific modeling parameters— to programmatically open up persistent horizons (Stefano Gualeni) of thought and ways to perceive and understand time, space, causations between kinetic and intuitive decisions, and how these could be different to the ones in which human beings structure their everyday relationship with what we summarily label “the actual”.
The emerging benefits of this research on the discipline of visual art, as I see it now, could be twofold. Firstly, it would be a step towards redefining the relationship between the human, animal, and technological in art, not simply through a process of inclusion of entities by “upgrading” them to the status of human subjects, but by a process of imagining each of these (and us) as being already transmemetic and interdependent. Secondly, it would propose an artistic movement for a potentially darker future in which the art viewer may be forced to evolve beyond current subjectivity. In that sense, the material work would serve as a prototype for broadening the endogenous rules and logics of perception in visual art.