It represents a research path that brings relations between humans, technology, and living, nonhuman organisms to the fore.
My research seeks to understand how Bio Art can foster shared experiences between humans and nonhumans.
Understanding digitalization processes not as representations of some material reality but as ontological repetitions, and analyzing the archive not only as an issue of memory but also of conformation of both the future and subjectivities, this work advances the emergence of a digital subject and theorizes that its constitution happens by assuming a “point of view” in the technological unconscious. The author hypothesizes that memes catalyze the creation of artifacts, which, in turn, act as instigators for memetic replication in the brain, and that microsound—sound at the edge of perception—may play a key role in instigation.
These theorizations, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as a medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large. Thinking about these hypotheses yields creative deployment of microsound in primarily scored works.
This process, however, was not innocuous: It made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge.
This research identifies an analogous process within the artistic realm: When Clement Greenberg delineated the concepts of opticality and color field as the main characteristics that defined Modernist painting, he conceived of these in a purely disembodied subject. This dissertation proposes a novel memetic framework and creative methodology to probe the mechanism underpinning the transmission of a composer’s intention to an audience, contending that cultural replicators—memes—drive our understanding of a composer’s intention.
His philosophy provides an understanding of the relations between entities, between individuals and their sustaining environments.
Simondon argues his philosophy is generalizable across all regimes of existence (physical, living, technological, psychosocial), but specific to the context of a given set of relations.
I discuss the development of two different projects, one in the final stage and one in the nascent stage. This work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman—tracing its origin to Marcel Duchamp and his invention of the readymade—and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research questions.
They offer both physical instantiations of the theories and arguments of my research, as well as objects of analysis through which I explore and expand upon Simondon’s philosophy. Katherine Hayles analyzed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital.