Throughout art history, numerous artists have explored connections to science. In the society of today, the relationship between art and biology has been acquiring special visibility. Moreover, the current importance given to science and technology by today’s public opinion directly drives an increased awareness about the relationship between art and science. The public has been eagerly following breakthroughs in scientific research, albeit with mixed feelings: simultaneously awe, hope and fear for its potential misuse. Such awareness about biological sciences and biotechnology (...) has been having an increasing influence over artists, where the artist is no longer a mere observer of the scientific research and not quite a science researcher, but rather an art researcher. This particular position has led to the development of strategies to promote the exploration of possibilities deriving from a cross-talk between artists and scientists. This is a new art practice, based on a ‘risk-based’ situation; a timeless research strategy to develop new methods of practice, new media and new ways to manipulate materials for artistic expression. This is art research. During the twentieth century, the key scientific advances – such as the discovery of the DNA structure, in vitro fertilization, transgenesis or the sequencing of the human genome (in the twenty-first century) – were perceived by society in diverse ways. The progressive incorporation of those concepts by society itself led to a point where biology and the medical sciences became the most promising areas of science. It is therefore not surprising that those same scientific disciplines have marked the development of the artistic discourse in a tremendous fashion, as well as also influencing all other areas of the contemporary society. Furthermore, these artworks explore new media, described as ‘moist’ in that they integrate dry in silico computer components with wet living biological systems. (shrink)

Drawing upon my expertise as an artist and clinical acupuncturist with training in biomedicine, my artistic research adapts Chinese medicine practice into a strategic tool to investigate new synergies between art, medicine, technology, East, West, modernity and pre-modernity. In my performances, I use Chinese pulse diagnosis and acupuncture point location as transdisciplinary artistic technologies (qi / ) that are capable of measuring and responding to quantum entanglements between individuals and their social, natural and cosmic milieus ‐ or what can be (...) referred to as dao (). This is achieved by combining the principles of CM with digital (audio software and physical computing) and 'moist' media (the body). (shrink)

Morphogenetic fields of thought, flux and transformation, energy and light are the manifestations that inform a new sensibility for creating realities and exploring the world. We are seeing the emergence of a new moistmedia culture and the possibilities of a syncretic art that combines aspects of a vast transdisciplinary field. Historically, syncretism has destabilized political and religious orthodoxies, reconciling and harmonizing formerly discrete antagonists; its etymology derives from the coming together of opposed tribes to resist a common enemy. In contemporary (...) culture, the enemy is habit - the uncritical repetition of behaviours, perceptions, categories and values. Just as cybernetics analogizes differences between systems, so syncretism finds likeness between unlike things. If cybernetics underlies the technology of new media art, syncretism informs the psyche. In the context of telematics, it is a matter of heuristics and heteronymia. The digital moment in art is passing as it approaches the status of orthodoxy; the period of discovery through extreme speculation, invention and untrammelled creativity is in danger of giving way to academicism and commercialization, whether in cyberspace, on the Web or through the mobile. Art's twentieth-century preoccupation with the body is giving way to the technoetic exploration of new territories of mind. This may involve revisiting the pathways to personal transformation and transcendence of older cultures, where the syncretism of knowledge and beliefs, as for example in Brazil, is explicit. Art needs to adopt syncretic strategies to embrace emerging models of mind and matter, cyberception, living process and computational systems, moist-media, quantum reality, the nanofield, and ecological, social and spiritual issues. This may lead to significant changes in the way we regard our own identity, our relationship to others, the nature of memory, the exploration of consciousness, and the phenomenology of time and space. (shrink)

Ancient schematic systems originating in the Jewish and Chinese traditions that demonstrate dynamic integration of human consciousness with the material world offer fresh insights into the process through which technoetic art forms are created at the intersections of art, science, technology, and culture. Kabbalah is Judaism's esoteric tradition that reveals the deep structure of biblical consciousness through a symbolic language, conceptual schema, and graphic model for exploring the creative process. The Tree of Life schema is a network of 22 pathways (...) linking 10 nodes (sephirot) that represent stages in the creative process. The first three sephirot represent the artist's undifferentiated intention to create and the cognitive dyad in which a flash of insight begins to crystallize into a viable idea. Two affective dyads, largess/restraint and success/gracefulness, are balanced by the sephirah (singular for sephirot) of Beauty, the aesthetic heart of the entire process. The ninth sephirah funnels the integrated flow of intention, thought, and emotion into the world of physical action that is the tenth sephirah. The Kabbalistic schema is used to trace the process of creating Inside/Outside: P'nim/Panim, a technoetic moist- media artwork in which a biofeedback imaging system forms a feedback loop between changing mind/body processes and corresponding changes in digital self-portraits. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the NoseDavid F. Bell (bio)I recently underwent a COVID test. As the technician inserted the rather ominous cotton-tipped probe into my nostril, she told me that it was going to feel as if she were tickling my brain. Indeed… This experience, shared by many during the past three years, and likely multiple times, prompted me to think about my nose. Not since cocaine reentered American mainstream culture in (...) the 1970s and '80s—and found its way into countless movies that reflect the trend—has the nose been so central to a certain state of public life. It's difficult to find a film dealing with American culture from that period and beyond, from Scarface to The Wolf of Wall Street, in which there is not a scene depicting characters snorting the obligatory line or spoon of cocaine. Yes, snorting, sniffing, sneezing, ingesting the line through the nose and finishing leftover dust by collecting it with a moist finger, rubbing it lovingly against the front gum of the mouth. Freud's "Über Coca" looms ominously in the background, the work of a phase in Freud's professional career complicated by his obscure relationships with Parke-Davis (now a subsidiary of Pfizer) and Merck, pharmaceutical companies that supplied him with early samples to tickle his nose (Freud; Merkel). The Sacklers of the moment. In our day, Pfizer wants to transform our noses into defenses against the virus rather than conduits toward mind-altering dreams. In the wake of the Freud and William Halsted cocaine addictions chronicled by Howard Merkel, the irony of the contemporary link between Pfizer and the nose is patent.The nose: that orifice through which the virus creeps, the first stage in breathing, the first filter for air-borne pollutants. Recently, important immunological analyses of COVID have focused on the question of viral load, how much virus is necessary to overcome the nose's filtering function and reach the deeper airways leading to the lungs. The processes triggered by any of the major vaccines prepare antibody blueprints and actual antibodies that can be dispatched to the linings of the nose to counter the virus as soon as the body detects its presence. The Delta, Omicron, and subsequent variants remind us that the virus has mechanisms to challenge this response, namely, increased viral load that intensifies transmissibility and the potential to overwhelm antibodies. It seems, however, that [End Page 231] so-called breakthrough infections are still well controlled by the body's vaccinated immune system. Hysteria about the dangers of such incursions is partially a product of biased and often incorrect or incomplete media coverage of the COVID vaccine, which has terrified the vaccinated and fueled the skepticism of the unvaccinated.The virus tries to overpower and confuse the filtering nose in another way, more immediately apparent to our conscious selves. As many as eighty-five percent of COVID infections result in the loss of smell, generally recovered in about two to three weeks in sickened people who overcome the infection. About five percent of COVID victims, however, have not recovered their sense of smell six months or more after they have shed the virus.1 What might it mean to lose one's sense of smell? In our vision-oriented culture, both sound (the ear) and smell (the nose) have been less recognized as primary defense mechanisms than in other cultures. When one hears a sound, the first reaction is to prepare for a threat, before the sonic source is seen or understood. Orientation in the world, knowing from which direction the sound emanates, is key to preparing the body for an encounter with an unknown phenomenon: "To sound (an alarm) means to warn. Isn't any emerging sound understood as a warning? Any unexpected sonic occurrence is seen as an indication of something that is to come and that must be clarified rapidly" (Deshays 34). By the same token, to sample surroundings by sniffing what is in the air signals whether one should inhale or somehow try to hold one's breath in search of cleaner, more palatable air. Without olfaction, we are at potentially heightened risk of asphyxiation. We are more likely to... (shrink)

In this article, I engage with aesthetic experience as a central hermeneutic endeavour for theorising performing arts audiences in the Arab region. I argue that a critical engagement with Arab performing arts audiences’ aesthetic experiences necessitates both an archaeological manoeuver and a re-articulation of two keywords: ‘experience’ and ‘everyday’. The article advances, using evidence from research, that allowing the audiences of performing arts in the Arab region to speak may be a step towards democratising the triangular meaning making process among (...) the performer, the audience, and the art institution, and a means towards dislocating, if not liberating, the categories Arab culture, art, performance, and experience, from their teleological articulations. (shrink)

The impeachment of Brazilian President Dilma Rousseff in 2016 was the result of a coup of the economically dominant conservative oligarchy against the leftist Partido dos Trabalhadores, in power since 2003. The right wing Brazilian media played a crucial role in this coup by manipulating public opinion as well as the politicians who voted against Dilma. In particular, the media of the powerful Globo Corporation, such as O Globo newspaper, and especially Globo’s Jornal Nacional, the pervasive TV news (...) program, systematically demonized and delegitimized Dilma, as well as ex-President Lula and the PT, in their news reports and editorials by selectively associating them with pervasive corruption and attributing the serious economic recession to them. After a summary of this sociopolitical context, and a brief theoretical definition of manipulation, this article examines some of the manipulative strategies of O Globo’s editorials during March and April 2016. (shrink)

Stone & Wang collate the nascent research examining the mnemonic consequences associated with social media use. In particular, they highlight two important factors in understanding how social media use shapes the way individuals and groups remember the past: the type of information (personal vs. public) and the role (producer vs. consumer) individuals undertake when engaging with social media. Stone and Wang investigate those two features in relation to induced forgetting for personal information and false memories/truthiness for public (...) information. (shrink)

Félix Guattari's theoretical and practical interests in cinema culminated in the film project A Love of UIQ. While critics have concentrated on the sci-fi screenplay's elements of minor cinema, its themes of mass media, emerging computer technologies and informatic-communication networks particularly express Guattari's concept of post-media. The screenplay is an aesthetic meditation on the potentialities of post-media, a concept that anticipates the practical and theoretical issues surrounding the age of the Internet. A Love of UIQ voices Guattari's (...) ambivalence towards the liberatory possibilities of network technologies that are at constant risk of capitalist recapture. (shrink)

This article aims to analyze the manifestation of the universal axiological cultural category of sinfulness in the media space. The study's subject was this category's properties and functions, which are actualized when represented in digital media. In accordance with this goal, we used such methods as continuous sampling and observation of the facts of the representation of cultural categories, which allowed us to determine the linguistic material for analysis and a statistical method for quantitative analysis. The content analysis (...) of the units selected for the study was used to identify the role, properties, and main functions of the universal axiological category of sinfulness. The novelty of the research lies in the fact that, for the first time, the universal nature of the category of sinfulness, its functions and properties, represented in media publications, were considered. Main conclusions: the study of the facts of actualization of the category of sinfulness in the media space allowed us to assert that the phenomenon under study is associated with topics such as politics, crime (in news media), and the assessment of citizens' behavior and morality (in religious media). These facts indicate that the primary function of the category of sinfulness is regulatory, aimed at evaluating and correcting the actions of members of society, as well as creating public opinion. In addition, the article proves that the category of sinfulness has transcultural properties, penetrating and being realized in all cultural layers, from local to global. In these cultural layers, the nature of the category acquires a different shade. In particular, at the global level, the category of sinfulness acquires the meaning of guilt, which is a consequence of the significant influence of Western culture on the global culture. It seems that the revealed properties of the category indicate its high importance for modern Russian society. The established regulatory function will make it possible to apply this category, including within the framework of regulating and managing public opinion and promoting basic values. (shrink)

Media ethics codes concerning privacy must be updated considering the ease with which information now can be gathered from social networks and disseminated widely. Existing codes allow for deception and privacy invasion in cases of overriding public need when no alternate means are available but do not adequately define what constitutes need or alternate means, or weigh in the harm such acts do to the public trust and the profession. Building on the ethics theories of Sissela Bok and Helen (...) Nissenbaum, balancing tests can be developed under a mixed-rule deontology that confines online misrepresentation and exposing the private information of private people only to cases where good most clearly is served. (shrink)

The papers in this issue were first assembled for the American Academy of Religion conference in 2022 to consider Søren Kierkegaard's analysis of the media environment of his day and the relevance of his perspective to both traditional and new media today. Each author takes a different approach to Kierkegaard's ethics of mass communication, but all agree that his ideas still retain a great deal of applicability in a vastly different media environment.

An expanding media universe confronts readers, viewers, and users with an abundance of media content that, for the most part, will not be used by the audience, and will, in many cases, not even be considered for use. Selecting what to use and not to use is functional in avoiding information overload or ‘technostress’, but, at the same time, necessary to make use of the media environment. The selection of media initiates gratifications, serves particular functions, enables (...) certain effects, all depending on the perspective. Media use and selectivity constitute a field of remarkable tradition in communication research. The question how individuals deal with media and why they use certain media content has been in the focus of communication research from the very beginning of empirical media research; since Lazarsfeld and his colleagues conducted their radio research projects, which included Herzog's widely cited study on daytime serial listeners. Thinking about media use reached a first prime with the emergence of Uses and Gratifications approaches; an abundance of studies about ‘what people do with the media’ have been published during the golden years of Uses and Gratifications in the 1970s and 1980s. Bryant and Miron identified Uses and Gratifications – along with Agenda Setting – as the approach most frequently used in three communication journals from 1956 through 2000. (shrink)

The mediatization concept rests on the increasing centrality of media in everyday spheres. Within academia, mediatization is explored in various ways, such as through the use of social media, news media, and researchers’ adoption of certain media logic(s). While many studies focus on media logic(s) as an explanatory device, it can also be seen as a contextual relationship between actors enacted for various purposes. This paper explores how academics enact media logic(s) in climate communication (...) and for what purpose. By drawing on interviews with initiators of open letters on climate change, this paper illustrates that media logic(s) is evoked as a publishing strategy and a way to demarcate academics from news media journalists. The study thus suggests a conceptual shift from debates about what media logic(s) is to what it does in specific communication contexts. (shrink)

The usage of social media in education is increasing as a result of perceived pedagogical benefits. The literature emphasizes the importance of teachers continuing to build their social media capabilities, experiences, and values. Critical thinking, problem-solving, and the ability to contextualize social media require intellectual, social, and ethical talents regardless of operational proficiency. We performed a semi-structured interview with 13 high school teachers who expressed their thoughts and experiences using social media in the classroom. The interviews’ (...) recorded videos were transcribed into text and coded inductively and deductively for analysis. The study’s findings agreed with a proposed conceptual framework that claims that regular interactions with social media enable teachers to better understand and teach with it. The paper presents a framework to assist education facilitators, educational technologists, teachers, and other affiliated agencies in refocusing their efforts on technology-assisted context training. It also emphasizes the significance of engaging with technology regularly. (shrink)

Previous research has found that news coverage on immigration is often biased in negative ways and that it inspires the formation of negative attitudes towards immigrants. However, academic research about this link between news consumption and attitudes towards immigrants among adolescents remains limited. The current study aims to test this association from a media-exposure and intergroup-contact perspective using survey data from 875 adolescents in Flanders, Belgium. The findings show that only television news consumption, thus no other types of news (...) consumption, was associated with adolescents’ attitudes towards immigrants. Intergroup contact within the friend group, outside the school context, was linked to more positive attitudes. This study nuances earlier findings that news consumption predicts attitudes towards immigrants. Implications for future research are discussed. (shrink)

This paper addresses the impact that the ever-growing involvement of scientists in knowledge-sharing practices by means of social media might have on the material conditions under which academic labour-power reproduces itself. Science communication is advocated for on the basis of its supposedly altruistic character, so scientists are prevented from expecting any form of remuneration ensuing from it. However, as our Marxian-informed analysis of the determinations of the value of the commodity labour-power will elucidate, this novel duty involves the exertion (...) of an additional quantity of work by academics, owing either to the relative complexation of the productive attributes requisite to use social media efficiently, or, particularly, to the accelerated pace at which scientists’ working capacity becomes productively consumed, both in absolute (extension of working hours) and in relative (work intensification) terms. It will be demonstrated that, as science communication via social media brings about an increase in the value of scientific labour power, wages must be raised so as to preserve science labourers in their normal condition. The article will further throw into relief that the political action of scientists themselves stands as the more general mediation for this innermost necessity of the capitalistic relationship of production to assert itself. (shrink)