Monthly Archive: March 2015

Viking Ship Construction – by the Museum in Roskilde, Denmark

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The Singular Universe and the Reality of Time

smolin
I have devoted a serious amount of time to reading the new book by Roberto Mangabeira Unger and Lee Smolin, The Singular Universe and the Reality of Time: A Proposal in Natural Philosophy [1]. Indeed, this review actually pertains to the first part of the book, written by Unger, the philosopher in the pair. Eventually I will come back to it with a second review, focusing on the part written by Smolin, the physicist. They make the same argument, but one goes at it from a broad, philosophical perspective, the other from a more empirical, scientific point of view.

It is an ambitious book, bound to be controversial both among philosophers and among scientists, but it is worth the effort, if nothing else in order to expose one’s mind to a fairly radical way of conceiving of metaphysics, physics, and mathematics — and this despite the fact that the first part, written by Unger, is somewhat slow going and repetitious, compared to Smolin’s contribution.

Before we get to what the authors set out to accomplish, it is worth discussing a more basic premise of the book: they see it as an exercise in what they call (a revived form of) “natural philosophy.” Of course, natural philosophy was the name by which science went before it became a field of inquiry independent of philosophy itself. Descartes, Galileo, Newton and even Darwin thought of themselves as natural philosophers (the word scientist, in fact, was invented by Darwin’s mentor, William Whewell, in 1833 [2]). But what’s the point of going back to the old term, aside from a bit of historical nostalgia and perhaps intellectual pretentiousness?

Actually, Unger & Smolin (henceforth, U&S) make a very good case for it, which begins with the observation that many of their colleagues have indeed engaged, often stealthily, or perhaps without recognizing it, in precisely this sort of activity. You may have noticed over the last several years the appearance of a number of books written by scientists and allegedly aimed at the general public, but upon closer inspection turn out to be a bit like those recent delightful Disney and Pixar movies: two-track productions, with the obvious and most accessible one aimed at young audiences, interwoven with more sophisticated jokes that only the cognoscenti (i.e., the adults, as far as the movies are concerned) understand and enjoy. These exercises in natural philosophy, according to U&S, have been written by scientists who want to talk not just to a lay audience, but also to their colleagues, outside of the strict and constraining formalism of peer review. Think of such books as long op-ed pieces that scientists (partly) aim at each other in order to influence the agendas of their respective fields.

This strikes me as exactly right, and makes new sense of a number of books I have read (and perhaps of some I have written?) over the years. For instance, I can count as exemplars of this new genre: Peter Woit’s Not Even Wrong (on string theory [3]); The Mating Mind, by Geoffrey Miller (on human sexual selection [4]); Capital in the Twenty-First Century, by Thomas Piketty (on economics [5]); Guns, Germs, and Steel, by Jared Diamond (on social evolution [6]); The Plausibility of Life, by Marc Kirschner and John Gerhart (on the evolution of evolutionary theory [7]), among many, many others. Indeed, arguably the approach goes all the way back to Darwin’s own Origin of Species, which had the distinction of being written for other naturalists, and yet selling out with the general public within the first day of distribution.

Unger describes the phenomenon in this way:

“Today, natural philosophy has not disappeared completely. It lives under disguise. Scientists write popular books, for the general educated public, professing to make their ideas about the science that they practice accessible to non-scientists. They use these books to speculate about the larger meaning of their discoveries for our understanding of the universe and of our place within it. They also have another audience, however: their colleagues in science, addressed under the disguise of popularization.” (p. 82)

Let us be clear that U&S (as well as myself) do not for a moment think that the scientists in question are doing anything unsavory, or engaging in a duplicitous advertising campaign. On the contrary, what the authors wish to do is to make the trend clear and take advantage of it to push their own agenda about physics and cosmology. I find the whole idea quite refreshing, regardless of whether one ends up agreeing or not with U&S’s specific proposals.

Unger identifies four signs of natural philosophy (pp. 75-77):

“Its first hallmark is to take nature as its topic: not science, but the world itself. It engages in controversy about the direction and practice of part of science only as part of a larger argument about nature. The proximate subject matter of the philosophy of science, as now understood and practiced, is science. The proximate subject matter of natural philosophy is, and has always been, nature. … A second characteristic of natural philosophy is to question the present agenda or the established methods in particular sciences. It does so from a distance rather than from within science. …A third trait of natural philosophy, as we exemplify it here, represents a break with much of the way in which natural philosophers used to view their own work when natural philosophy was an accepted genre. We deal with problems that are both basic and general. We do so, however, without depending on metaphysical ideas outside or above science. … A fourth characteristic of natural philosophy, as we here interpret and try to recover it, is that, as it intervenes in discussion of the agenda of natural science, it attenuates the clarity of the divide between a discourse within science and a discourse about science.”

I think Unger is being a bit optimistic about the possibility of not “depending on metaphysical ideas outside or above science,” but in other parts of his contribution to the book he seems to be arguing for a more modest (and eminently achievable) aim: to highlight a science’s (inevitable?) metaphysical commitments and to reduce them to the bare and justifiable minimum.

I do like the distinction being drawn here between natural philosophy and philosophy of science, based on the idea that there are three possible “discourses” to be carried forth: within science (properly done by scientists); outside of science (properly done by philosophers, of science); and simultaneously within and outside (to which both philosophically inclined scientists and scientifically inclined philosophers are welcome). I may have to change my office door label to “Natural Philosopher”…

All of the above taken as a preamble, what is it, exactly, that U&S are arguing for, and on what basis? Here I will draw heavily on the introduction to the book, common to both Unger’s and Smolin’s separate contributions, and I will intersperse my commentary as I see fit.

U&S present three fundamental ideas for the consideration of their readers:

“The first idea is the singular existence of the universe. … There is only one universe at a time, with the qualifications that we discuss. The most important thing about the natural world is that it is what it is and not something else. This idea contradicts the notion of a multiverse — of a plurality of simultaneously existing universes — which has sometimes been used to disguise certain explanatory failures of contemporary physics as explanatory successes.” (p.x)

All I have to say, pace my friend Sean Carroll and a number of other physicists and cosmologists: amen! U&S explain that there is no particular scientific reason to believe in the multiverse, that the idea is empirically untestable and therefore not scientific (yes, they are aware of claims to the contrary, and they deal with them), and that the whole concept is a metaphysical (in a bad sense of the word) cover up for what they see as the current failure of cosmological models.

“The second idea is the inclusive reality of time. Time is real. Indeed, it is the most real feature of the world, by which we mean that it is the aspect of nature of which we have most reason to say that it does not emerge from any other aspect. Time does not emerge from space, although space may emerge from time.” (p. x)

They explain that this conviction comes out of taking seriously what they consider (rightly, I think) cosmology’s most fundamental discovery of the 20th century: that the universe has an age. This discovery, they argue, is incompatible with the oft-repeated idea that time is relative and that there is no privileged absolute measure of it. Before you throw general relativity at me, consider that these two know what they are talking about. They are perfectly aware of Einstein’s theory, and they deal with it accordingly, philosophically in the first part of the book, scientifically in the second one. They do not reject GR, they simply reject what they think are unwarranted metaphysical extrapolations of it that physicists have taken for granted but that can be challenged in light of the empirical data coming out of cosmology.

“The third idea is the selective realism of mathematics. (We use realism here in the sense of relation to the one real natural world, in opposition to what is often described as mathematical Platonism: a belief in the real existence, apart from nature, of mathematical entities.) Now dominant conceptions of what the most basic natural science is and can become have been formed in the context of beliefs about mathematics and of its relation to both science and nature. The laws of nature, the discerning of which has been the supreme object of science, are supposed to be written in the language of mathematics.” (p. xii)

But they are not, because there are no “laws” and because mathematics is a human (very useful) invention, not a mysterious sixth sense capable of probing a deeper reality beyond the empirical. This needs some unpacking, of course. Let me start with mathematics, then move to the issue of natural laws.

I was myself, until recently, intrigued by mathematical Platonism [8]. It is a compelling idea, which makes sense of the “unreasonable effectiveness of mathematics” as Eugene Wigner famously put it [9]. It is a position shared by a good number of mathematicians and philosophers of mathematics. It is based on the strong gut feeling that mathematicians have that they don’t invent mathematical formalisms, they “discover” them, in a way analogous to what empirical scientists do with features of the outside world. It is also supported by an argument analogous to the defense of realism about scientific theories and advanced by Hilary Putnam: it would be nothing short of miraculous, it is suggested, if mathematics were the arbitrary creation of the human mind, and yet time and again it turns out to be spectacularly helpful to scientists [10].

But there are, of course, equally (more?) powerful counterarguments, which are in part discussed by Unger in the first part of the book. To begin with, the whole thing smells a bit too uncomfortably of mysticism: where, exactly, is this realm of mathematical objects? What is its ontological status? Moreover, and relatedly, how is it that human beings have somehow developed the uncanny ability to access such realm? We know how we can access, however imperfectly and indirectly, the physical world: we evolved a battery of sensorial capabilities to navigate that world in order to survive and reproduce, and science has been a continuous quest for expanding the power of our senses by way of more and more sophisticated instrumentation, to gain access to more and more (and increasingly less relevant to our biological fitness!) aspects of the world.

Indeed, it is precisely this analogy with science that powerfully hints to an alternative, naturalistic interpretation of the (un)reasonable effectiveness of mathematics. Math too started out as a way to do useful things in the world, mostly to count (arithmetics) and to measure up the world and divide it into manageable chunks (geometry). Mathematicians then developed their own (conceptual, as opposed to empirical) tools to understand more and more sophisticated and less immediate aspects of the world, in the process eventually abstracting entirely from such a world in pursuit of internally generated questions (what we today call “pure” mathematics).

U&S do not by any means deny the power and effectiveness of mathematics. But they also remind us that precisely what makes it so useful and general — its abstraction from the particularities of the world, and specifically its inability to deal with temporal asymmetries (mathematical equations in fundamental physics are time-symmetric, and asymmetries have to be imported as externally imposed background conditions) — also makes it subordinate to empirical science when it comes to understanding the one real world.

Perhaps the best example of this tension is provided by the backward extension of the field equations of general relativity, which is the basis for the claim — rejected by Unger and Smolin — that the universe began with a “singularity” characterized by infinite mass and energy. They flip things around, asserting that the logical impossibility, as well as the complete dearth of empirical evidence, of any infinite quantities in nature must take precedence instead. If GR predicts physical infinities too bad for GR: it simply means that that particular theory, like all scientific theories, has a specific domain of application (admittedly, fairly large: most of the known universe for most of its history), beyond which it breaks down (more on this below). Some physicists, according to U&S, commit instead the same mistake as the (fictional) authors of the Hitchhiker’s Guide to the Galaxy, warning their readers that in case of conflict between the Guide and Reality, it is Reality that is at fault…

Interestingly, in other domains of physics it is the physicists themselves who gladly follow U&S’s advice. Take, for instance, the emergent phenomenon of phase transitions [11]. It turns out that the curves describing transitions between states of matter are the same regardless of the specifics of the substance, indicating a universal phenomenon underlying these processes. Moreover, by far the best (though, crucially, not the only) mathematical treatment of phase transitions invokes, you guessed it, singularities! That is, the mathematical physicist works things out as if the number of molecules involved in phase transitions was infinite, which allows him to deploy some very elegant and very treatable mathematical formalisms to describe the physics. But of course everyone knows that this is just an idealization: number of molecules is never an infinite quantity, only a very very large one. Why then, make a metaphysical 180 in the specific case of the Big Bang? I think Einstein himself would have appreciated a bit more deference to the empirical here.

And now to the issue of laws of nature. The whole idea has a controversial history [12], and is of surprisingly recent vintage. Among early natural philosophers, Descartes, and then Newton, were enthusiastic supporters of the notion, which of course they directly ascribed to the existence of a creator God: after all, if there are Laws, we need a Law-giver of some sort. Hobbes and Galileo, on the contrary, were distinctly unexcited by it, preferring instead to talk about empirical approximations and generalizations. While the Cartesian-Newtonian camp holds sway in modern physics, a number of philosophers before U&S have pointed out that this is likely a mistake, introducing an enigma (where do the laws come from?) in order to explain a mystery (some observed regularities in the way the universe works).

Two such philosophers are Nancy Cartwright and Ian Hacking. They independently published two seminal books on the topic back in 1983: How the Laws of Physics Lie (how’s that for a controversial title? [13]) and Representing and Intervening [14], respectively.

According to Cartwright in particular, laws of nature are not true generalized descriptions of the behavior of particles, say, but rather statements about how particles would behave according to idealized models. Her crucial point being that theories are to be re-interpreted as (empirical), idealized models of reality, not as more or less isomorphic (true) maps of the world.

Cartwright distinguishes between fundamental and phenomenological laws: fundamental laws are those postulated by realists, and they (supposedly) describe the true deep structure of the universe;phenomenological laws, conversely, can be used to make predictions, they work well enough, but they are strictly speaking, false.

Newtonian mechanics is then interpreted as a phenomenological law: it is an idealization that works well for certain practical purposes. Crucially, for Cartwright, all laws are like that (so she is an anti-realist about laws), which means that in physics, instead of looking for a fundamental “theory of everything” we should be working instead on putting together a coherent patchwork of local (phenomenological) theories and laws, each characterized by a limited domain of application.

Here is how she puts it: “neither quantum nor classical theories are sufficient on their own for providing accurate descriptions of the phenomena in their domain. Some situations require quantum descriptions, some classical and some a mix of both.” To say something along the lines of “yes, but in principle we could use quantum mechanics for everything” is, according to Cartwright, to go beyond the empirical and wade into shaky metaphysical ground. While Unger and Smolin don’t quite go that far, the spirit of their criticism is similar. Interestingly, however, they derive it from an analysis of physical laws that begins with another staple of philosophical discourse: causality [15].

The basic idea put forth by U&S is simple, profound, and eminently reasonable: we usually explain causal processes and interactions by invoking laws. But in fact, they argue, it is more plausible to think that it is the (appearance of) laws that emerge from causal interactions. That is, causal processes are primary, and when they happen with predictable regularity we call the resulting pattern a law. This, in turn, stems from their treatment of time as not emergent: if there is anything that defines causality it is temporal asymmetry, and in fact time itself can be defined in terms of causality:

“If time were not real, there could be no causal relations for the reason that there would be no before (the cause) and after (the effect). … Nothing would distinguish causal connections, which are time-bound, from logical or mathematical relations of implication, which stand outside time.” (p. 7) And also: “Within this view, time is intimately and internally connected with change. Change is causal. Time is change. In the spirit of these propositions, we should take inspiration, not discouragement, from Mach’s remark: ‘It is utterly beyond our power to measure the change of things by time. Quite the contrary, time is an abstraction at which we arrive by the changes of things.’” (p. 222)

But, wait, I’m sure you are about to say, isn’t it the case that we have lots of empirical evidence that time changes depending on local conditions, such as the speed at which we move, or gravitational effects? Unger (and Smolin, in the second half of the book) have obviously considered this: “No necessary, one-to-one relation exists between the Einsteinian-Riemannian ontology and the hard empirical content of general relativity. We can keep the empirical residue while dispensing with the ontology.” (p. 232) The practical solution here is to conceive of absolute time not in terms of standard units, such as seconds, oscillations of reference atoms, and the like. Time is, if I understand U&S correctly, simply the succession of causal connections between events. This succession can locally take place at a different pace, but this does not invalidate the universally true fact that certain things (like, most obviously, the Big Bang) happened before (meaning that they were causally antecedent to) others.

There are two crucial consequences of this way of looking at things: to begin with, that the laws of nature themselves can change over “time.” Indeed, they already have. U&S think that the universe has gone through at the least two phases, and possibly many more before those. One phase was the Big Bang and what happened immediately before and after. During this sequence of causal events (i.e., “time”) things were happening that did not abide to anything like the predictable regularity we see operating today, because the causal processes themselves were changing. The second phase is the one of the cooled down universe, which has gone on for billions of years now, and which can (to a good approximation, as Cartwright would say) be described as law-abiding, because the nature of the causal interactions that characterize it is either not changing or not changing appreciably. But this state of affairs may not last forever, and the universe may go through yet another period of upheaval, and so on and so forth, indefinitely.

The second crucial consequence is that physicists should take cosmology seriously as a fundamentally historical science, to be modeled after some of the “special” sciences like geology and biology, not in the increasingly singular way in which fundamental physics proceeds. Indeed, the idea that the very regularities governing the universe change with the causal conditions appears odd only in fundamental physics, because it has been so influenced by abstract (and necessarily time invariant!) mathematics. All other sciences have long recognized the emergence of new patterns of behavior (i.e., new regularities) triggered by changed causal conditions. For instance, major transitions in biological evolution (e.g., from unicellular to multicellular life) have made possible entirely new modes of evolutionary change (a concept known as “evolvability” [16]) that were simply not instantiated before. The appearance of sentient beings capable of reasoning has triggered novel types of causal interactions described by the social sciences (psychology, sociology, history, economics), again following patterns that were simply not accessible to the universe before a certain point. This yields an appealing picture of open possibilities, where the future is not fixed by the past, but depends on how causality will change and on what novel forms it will take.

At the cost of further prolonging this already sizable half review, as it were, let me point out also that Unger clearly frames the project of the book within the context of two broad philosophical traditions:

“the relational approach to nature and the priority of becoming over being. … The relational idea is that we should understand time and space as orderings of events or phenomena rather than as entities in themselves. … In the history of physics and of natural philosophy the two chief statements of the relational view have been those formulated by Gottfried Leibniz in the late seventeenth century and by Ernst Mach in the late nineteenth century. … A second philosophical inspiration of this book is less easy to associate with a single doctrine, a ready-made description, or a few names. It is the tradition of thought that affirms the primacy of becoming over being, of process over structure, and therefore as well of time over space. It insists on the impermanence of everything that exists.” (pp. xiii-xv) Well, in terms of names at the least, I may suggest Heraclitus and Fu Hsi (the author of the I Ching, the aptly named “book of changes”).

These are, of course, far from uncontroversial ideas, but they are eminently defensible philosophical frameworks: time and space are not entities, but ways to order events, and the universe is not organized according to timeless (ah!) laws, but any regularity that characterizes it emerges from the unfolding of things.

This is where things stand at the moment. Now give me a couple more months to get through Smolin’s part of the book…

_____

Massimo Pigliucci is a biologist and philosopher at the City University of New York. His main interests are in the philosophy of science and pseudoscience. He is the editor-in-chief of Scientia Salon, and his latest book (co-edited with Maarten Boudry) is Philosophy of Pseudoscience: Reconsidering the Demarcation Problem (Chicago Press).

[1] The Singular Universe and the Reality of Time: A Proposal in Natural Philosophy, by R.M. Unger and L. Smolin, Cambridge University Press, 2014.

[2] Scientist, Wiki entry.

[3] Not Even Wrong: The Failure of String Theory and the Search for Unity in Physical Law, by P. Woit, Basic Books, 2006.

[4] The Mating Mind: How Sexual Choice Shaped the Evolution of Human Nature, by G. Miller, Doubleday, 2000.

[5] Capital in the Twenty-First Century, by T. Piketty, Belknap Press, 2014.

[6] Guns, Germs, and Steel: The Fates of Human Societies, by J. Diamond, W. W. Norton & Company, 1999.

[7] The Plausibility of Life: Resolving Darwin’s Dilemma, by M.W. Kirschner and J.C. Gerhart, Yale University Press, 2005.

[8] On mathematical Platonism, by M. Pigliucci, Rationally Speaking, 14 September 2012. But then see:Mathematical Universe? I ain’t convinced, by M. Pigliucci, 11 December 2013.

[9] The Unreasonable Effectiveness of Mathematics in the Natural Sciences, by E. Wigner, Communications in Pure and Applied Mathematics, vol. 13, No. I (February 1960). Then again, see for instance this rebuttal by Steven French: The Reasonable Effectiveness of Mathematics: Partial Structures and the Application of Group Theory to Physics, Synthese 125:103-120, 2000.

[10] Platonism in the Philosophy of Mathematics, by Ø. Linnebo, Stanford Encyclopedia of Philosophy.

[11] Essays on emergence, by M. Pigliucci, part I, part III and part IV, Rationally Speaking, 11 October 2012, 22 October 2012, and 25 October 2012.

[12] Are there natural laws?, by M. Pigliucci, Rationally Speaking, 3 October 2013.

[13] How the Laws of Physics Lie, by N. Cartwright, Oxford University Press, 1983.

[14] Representing and Intervening: Introductory Topics in the Philosophy of Natural Science, by I. Hacking, Cambridge University Press, 1983.

[15] Causal Processes, by P. Dowe, Stanford Encyclopedia of Philosophy.

[16] Is evolvability evolvable?, by M. Pigliucci, Nature Reviews Genetics 9:75-82 (2008).

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Cyberformance in the Third Space: A Conversation with Helen Varley Jamieson

Helen Varley Jamieson performing “make-shift,” Brisbane, 2012; photo by Suzon Fuks

“Overlapping and fluid spaces… spaces emerging between physical realities and the ethereal digital / electric space: a third space grafted from the real-time confluence of the stage + remote locations.” – Helen Varley Jamieson

Cyberformance artist Helen Varley Jamieson is creating a new Internet performance work, “we r now[here]”* for the Art of the Networked Practice | Online Symposium (March 31 – April 2). The title and description of the work poetically articulate her thinking on networked space (third space) as a medium for online theatrical experimentation: “‘we r now[here]’ is about nowhere and somewhere: the ‘nowhere’ of the Internet becomes ‘now’ and ‘here’ through our virtual presence.” (* Special thanks to Annie Abrahams who provided the title for the work: “we r now[here],” and to Curt Cloninger who inspired it.)

To set the “stage” for this new work, we discuss Helen’s pioneering achievements in the genre she has coined as cyberformance: the combination of cybernetics and cyberspace with performance. Helen has created a rich body of online theater work dating back to 1999, when dial-up modems were still the operable connection, long before Skype and Google Hangout became popular Web-conferencing tools. As one of the founders of UpStage, an open source platform for online theatrical presentation, Helen is a leading catalyst, researcher, director, and maker who for years has been reimagining the Internet as a global space for theater and performance.

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Randall Packer: You coined the term cyberformance in the early 2000s after discovering the potential of the Internet as a medium for live performance. What were your first steps in rethinking live theater for ethereal, networked “third space?”

Helen Varley Jamieson: When I first started working with Desktop Theatre and experienced the intense liveness of our interactions despite being physically separated by thousands of miles, I understood that it was possible to feel a quite visceral sense of presence and real-time connection via the internet. We were improvising and performing in The Palace, a graphic-sonic chat application, and our audiences were mostly other “Palatians” – who weren’t always particularly interested in what we were doing. I began to think about how we could bring this work to a theatre audience, people who wanted to see a performance. The first time I tried this was at Odin Teatret in Denmark at a Magdalena Project festival, with a short performance that aimed to demonstrate the possibilities of cyberformance. Adriene Jenik and Lisa Brenneis from Desktop Theatre were performing with me from California, in The Palace which was projected onto a screen. I was using someone’s mobile phone for the internet connection as this was 2001 and there wasn’t internet throughout the building at that time. Afterwards, a heated debate erupted amongst the audience (who were theatre practitioners) about whether or not this could be called theatre. This experience challenged me to question whether or not cyberformance was “theatre” (which of course required first answering the question, what is “theatre”?): how is technology changing our definitions of “theatre”? and what place does cyberformance have within theatre?


Online meeting preparing for the CyPosium – organisers discussing facilitation and moderation (2012). From left to right: Annie Abrahams, Helen Varley Jamieson, Suzon Fuks and Christina Papagiannouli

RP: You define cyberformance as “utilizing Internet technologies to bring remote performers together in real-time for remote and or proximal audiences.” How does the distributed nature of cyberformance differ from live, traditional theater that situates actors and audience in a single, physical location?

HVJ: Obviously there are many interactions that are not possible, and the entire context is different: instead of sitting together in a darkened auditorium, hearing the rustles and breathing of your fellow audience members and smelling whatever smells, you are (usually but not always) alone in front of a computer. There are time and seasonal differences, as well as cultural and linguistic, for individual audience members. There might be a knock at the door or a phone call or other outside events that intrude on someone’s experience while online. So there is much more variety in how the performance is received than there is in a proximal situation. To give one example, during the 101010 UpStage Festival, one performer and some audience were located at a museum in Belgrade; it was the same day as the gay pride march there, which was disrupted by rioting anti-pride protestors, and the museum staff had to lock the doors to keep everyone safe – cars were burning in the street outside. Inside the locked museum, the performer kept going and the festival continued with the riot raging outside, and those of us online were getting updates about the situation from those in the museum.

There is also a different kind of relationship between audience and performers, at least in performances using platforms such as UpStage, where the audience have the possibility to chat with each other and with the artists. There is a level of familiarity and equality, as opposed to the separation of the 4th wall in traditional theatre. Different codes of behaviour apply – for instance it can happen that the online audience might start chatting about something unrelated to the performance, which then becomes a part of the performance; people seated in a theatre auditorium wouldn’t normally strike up a general conversation, audible to all, in the middle of a play. The response from the audience to the performance is in some ways more direct – they can comment in the chat and will often be very honest in their comments; and in other ways more distant – a standing ovation has to be typed into the chat, which is less of a loud emotional outpouring.


Dan Untitled streaming a DJ set from Wellington, New Zealand (top left) for the After Party of the 121212 UpStage Festival of Cyberformance (December 2012)

RP: I find it ironic that you named your performance group “Avatar Body Collision,” which seems to complicate the idea of net space as a virtual medium for disembodiment. How do you see “avatar bodies” colliding on the Internet?

HVJ: I don’t think of virtual space as being disembodied. We are still in our bodies, we are using our bodies to create the performance – primarily our hands and fingers (digits – we say “break a digit” before our shows instead of “break a leg”). The collision in the name is not about bodies colliding with bodies, but avatars colliding with bodies. Where does my body end and my avatar begin, and vice versa? And how do other bodies, e.g. the audience, respond to my avatar? The collision is one of flesh and technology, sweat and pixels.

“Dress The Nation” by Avatar Body Collision, 2003, The Palace (response to the USA invasion of Iraq)

 

RP: Online, the audience or “cyberformience” plays a participatory role in the event, like the early Happenings from the 1960s. How does this non-hierarchical approach to theater impact the works you have created for the medium: how do you incorporate the audience into the work?

HVJ: It varies from show to show; some are designed for the audience to watch and respond, while others aim to actively involve the audience (cyberformience) to the point of co-authoring. One example at the first end of the continuum is “a gesture through the flames“, which was a webcam performance I created in 2008 for Annie Abrahams‘ “Breaking Solitude” series. I used a Victorian toy theatre and a soundscape to tell a story, and the online audience improvised a narrative in the chat. I didn’t interact with them during the performance (I was too busy to type) and it was fascinating to see how they read what I was doing. At the other end of the spectrum are works like “make-shift” or the series “We have a situation!” which can’t happen without the active participation of the audience. In “make-shift” (2010-12, with Paula Crutchlow), the audience were involved in writing texts, operating the webcam, answering quiz questions, building kites from recycled plastic, and ultimately performing on webcam. The event was structured so that they were “warmed-up” for their participation, and because we were located in someone’s home there was a very informal and comfortable atmosphere which made it possible for people to do these things.

RP: You are currently creating a new work entitled “we r now[here]” for the Art of the Networked Practice | Online Symposium. The title can be read as no(where) or now(here). Tell us about your concept of Internet space and time.

HVJ: Space and time in the online world are very fluid for me. I frequently work with people in different time zones, and travel physically between time zones myself as well, so I’m often calculating time differences and negotiating meeting times around all of this. In some ways time is irrelevant. In other ways, it’s highly significant – for example, precise timing is very difficult to achieve. Lag is unpredictable, sometimes it can disrupt a carefully planned sequence but at other times it can make something unexpectedly brilliant.

Helen Varley Jamieson performing “make-shift,” Brisbane, 2012; photo by Suzon Fuks

RP: A recent work, “make-shift,” unites domestic environments via the Internet in live, free-form conversation between online and onsite participants. How do you achieve a sense of intimacy and play in the online social space of the work despite geographical separation?
HVJ: I think of cyberspace as a space; apart from all the common spatial metaphors that are applied to it, when I’m working or communicating with people online in real-time it feels to me that we create a space through our shared presence, words, and whatever else we are using. It’s a space that extends into and absorbs a little bit of the physical environment of everyone present. “make-shift” did this very explicitly – we asked the audience (online and on site) to describe where they were, and this built a collaborative space or environment that everyone had a shared sense of.

In “make-shift” we created intimate and playful environments in two separate houses. the participants in the houses arrived half an hour before the show began, and during this time we warmed them up with a few activities and explained things about what was going to happen. Usually there was also food and drink, and often the people already knew each other so it was already quite friendly and informal. At the start of the show we began by introducing everyone. Each house called out a greeting to the other house and the online audience (which we’d practiced as part of the warm-up activities), and then we invited the online audience to tell us “what’s it like where you are?” This question was deliberately a bit open-ended, so people could describe their surroundings, the weather, their day, their mood and so on. The online audience are already seated at the keyboard and ready to interact; often they would make jokes, add other comments and respond to each other. We had regular online audience members who knew the format so inserted their own commentary or embellished others’. From this beginning, we continued throughout the piece to give the audience tasks that encouraged their sense of empowerment and ownership within the piece, such as operating the webcam, and we encouraged those in the house to interact in the chat with the online audience. Some people were a bit shy or worried about doing the wrong thing, but they usually got into it fairly quickly and became so involved in the piece that they lost any self-consciousness. In the final scene, the group in each house performed a song to the webcam and created a tableaux vivant of a painting we had referenced throughout the performance, and when we reached this point in the show they were always keen to do this.

Performance of Samuel Becket’s “Come & Go” by Avatar Body Collision, 070707 UpStage Festival (2007)

RP: With the Avatar Body Collision performance group, you have restaged Samuel Becket’s minimalist theater work “Come & Go.” Your approach to cyberformance has always been very free and open, and yet Becket is the opposite: highly structured with precise directions for actors. How do you reconcile these differences?
HVJ: It was a lot of fun to do “Come & Go“; from the outset we accepted that we had a strict set of instructions to follow, and made that our task – to render Beckett’s directions in cyberformance as faithfully as possible. So we didn’t reconcile those differences, rather we saw it as an opportunity to work differently for a change. We worked on small but precise avatar movements, which is harder than you might think, and used simple gestures that very effectively added emotion, such as a turn of the head or holding a hand up to the mouth. We played with the text2speech voices of our avatars: I was Flo, who at one point has the line, “Dreaming of … love”, and we discovered that the “…” created an emotional quaver in the computerised voice when it said “… love”. This was both funny and tender. So having a script and such precise directions meant that we spent time on details like this.

RP: You have produced your own online symposia, the Cyposium, the latest from 2012 culminating inCyPosium the Book, an edition of essays and transcriptions. How has your experimentation with the online symposium format altered your view of what a conference gathering can fulfill given global access via the Internet?

HVJ: The CyPosium was very successful and generated an exciting buzz. I think one reason for this was that everyone was online. When there is a stream from a proximal conference, it’s very easy for people at the physical venue to forget about those online. It takes very thoughtful planning to ensure that the online participants are fully included. So in the CyPosium, everyone was online and therefore equally included. Most people commented quite freely – at times it was quite dizzying to see the chat scrolling up at great speed, there was so much discussion. This made it quite difficult for the moderators to field questions – we had planned as best we could for this and it went pretty well, but there were so many people actively engaged in the discussion that at times we couldn’t keep up. Many people stayed online for most of the 12 hours, and the response was very enthusiastic the whole way through, which made it clear that there is a desire for this kind of event.

From the launch of “CyPosium the Book”, Munich, Dec 2014, Helen Varley Jamieson presenting and Annie Abrahams on webcam; photo by Andrea Ass

 

RP: In your years of performing and creating online performance, what do you think is missing in the liminal space of the online medium due to distance and non-corporeality? What do you yearn for? What do you still want to accomplish?

HVJ: At an absolutely practical level, I yearn for better funding, for funding opportunities that are not tied to geographical locations, as nearly everything still is. The distributed, non-corporeal and ephemeral nature of this work means that it’s always on the periphery – which in some respects is a wonderful place to be, but it’s usually the least-funded place.

There are many things that I imagine and would like to realise but can’t technically; some of these things may become possible if/when we manage the rebuild of UpStage that we are planning. But often what interests me most is experimenting with the resources I have and discovering what’s possible; what tricks or hacks I can do, what surprises there are when we push a technology in a way it wasn’t intended to be pushed or when we use a tool differently.

What I would still like to accomplish in my work is to further develop the intentions of shows such as “make-shift” and “we have a situation,” where a creative process shared by audience and artists can ultimately effect real change, at the individual level and socially/politically. I’m interested in how cyberformance can facilitate meaningful discussions and encourage people to think about alternatives and make actual changes in their lives. I’m interested in how connections between remote and apparently unrelated people and contexts can open up new possibilities.

“swim – an exercise in remote intimacy,” Avatar Body Collision, at the City of Women Festival, Ljubljana (2003), photo by Nada Zgank

 

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Randall Packer is an artist, composer, educator, and writer. He is currently Visiting Associate Professor in the School of Art, Design & Media at Nanyang Technological University in Singapore, and the co-chair of the Art of the Networked Practice | Online Symposium. You can follow him at Reportage from the Aesthetic Edge, his blog critiquing the unfolding media culture.

This article originally appeared here, republished under creative commons license.

 

The post Cyberformance in the Third Space: A Conversation with Helen Varley Jamieson appeared first on h+ Media.

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6 things everyone needs to know about sex and consent

1. “The basis of sexual relationships are respect, equality and a respect for each other’s needs and boundaries.”

I am sure that most of the readers of this entry will agree with this statement. So far so good. But how can it be explained that every 107 seconds, a person in the USA is sexually assaulted, with an average of 293,066 victims (age 12 or older) of rape and sexual assault each year?

2. “The rapist is a masked stranger” is a socially constructed stereotype.

According to statistics of the Rape, Abuse & Incest National Network (RAINN), an anti-sexual assault organization based in Washington, the majority of rapes are committed by someone known to the victim. The vast majority of rapes aren’t committed by masked strangers hiding in bushes:

  • 73% of sexual assaults were perpetrated by a non-stranger
  • 38% of rapists are a friend or acquaintance
  • 28% are an intimate partner
  • 7% are a relative
  • More than 50% of all rape/sexual assault incidents were reported by victims to have occurred within 1 mile of their home or at their home

There are numerous approaches to explain those numbers. A rather new factor to be taken into account in the analysis of sexual violence is consent and its indispensability when it comes to sex.

consentsexy3. Consent has to be given and shouldn’t be assumed.

The definitions of consent are diverse.

  • Etymological: the modern noun consent derives from the Latin verb “cōnsentīre”, which is a combination of the prefix “com-“ (“with”) and the verb form “sentiō” (“to feel”)
  • As a more general understanding: “a voluntary agreement to engage in sexual activity”
  • Legal: “a freely given agreement to the conduct at issue by a competent person”

The U.S. legal definition of consent, as anchored in § 920 – Art. 120 of the U.S. Code of Federal Regulations, continues as follows:

An expression of lack of consent through words or conduct means there is no consent. Lack of verbal or physical resistance or submission resulting from the use of force, threat of force, or placing another person in fear does not constitute consent. A current or previous dating or social or sexual relationship by itself or the manner of dress of the person involved with the accused in the conduct at issue shall not constitute consent.”

consent

4. There is a discrepancy between the legal definition and social reality of consent

Although it is essential to state that a lack of verbally expressed consent to sexual interaction equals an absence of consent, social study has shown that in reality most of sexual interaction relies on non-verbal communication to initiate and reciprocate consent (Hall et al., 1988) as part of a social script. This script regulates sexual interaction and is formed by a number of cultural, interpersonal, and psychological factors operating on the societal micro- and macro-level as well as individual psychological processes. Sexual violence in this article is to be examined with regard to socially constructed gender differences.

5. Unspoken gender constructs cause problems

Consent cannot be analyzed without taking hegemonial power differences which are a result of the socially constructed gender binary into account. Studies in this context hint to differences between how men and women initiate and reciprocate sexual consent (cf. Hickman and Muehlenhard, 1999): The script of heterosexual sexuality dominant in Western culture requires the man to be the initiator of sexual interaction. He holds the active part, while the woman is still often viewed as the non-verbal, passive gate-keeper. Generally speaking this means that gender relations influence sexual consent as the ways in which men and women are socialized into gender roles influence their perceptions of sexual relationships as well as their expected gendered roles within those relationships.

The danger of harmful non-consensual interaction lies in the cultural understanding of men as the sexual initiators in heterosexual relationships: Studies show that a misperception of sexual intent occurs as a result of hierarchical gender differences – giving men the power of consent and forcing women into a passive, reserved position (cf. Berkowitz, 2002).

6. You need to speak out! Sensitize yourself!

If sexual scripts are mostly non-verbal, then encouraging direct communication of desires and boundaries – especially among women – would be an essential factor amongst others to help stop sexual abuse. A biased perception of consent influenced by societal gender inequality makes the sensitization of men an equally important part of consensual sexual conduct.

Men need to become more aware of possible inhibitions of women to express themselves. Among other factors, a fear of embarrassment might play a crucial role in the lack of communication, especially among younger and/or sexually inexperienced women. Also, disabilities or imposed societal norms such as compulsory heterosexuality might affect communication about sexual practices and/or consent.

Furthermore, it should be taken for granted that consent cannot be given under the heavy influence of alcohol or other drugs. Definite ways to tell if your partner does not consent to sexual activity, even if a “no” is not specifically articulated, are for example freezing up, saying you’re tired, or pulling away. There are numerous other subtle forms which might indicate a lack of consent, thus again pointing to the importance of direct communication. Remember: A person doesn’t have to yell “no,” scream, kick, or bite for it to be clear that they don’t want to engage in sexual activity. If you push someone into consent, it isn’t consent.

consentisDisclaimer: The focus on heterosexuality in this article is the result of a lack of studies on consent in homosexual relationships. This text does not want to indicate that a lack of consent does not occur in same-sex relationships. Also, the intention of this text is not to imply that communication is the magic solution to stop sexual abuse. It is only one factor amongst many others that needs to improve when it comes to sexual violence. Furthermore, there are obviously not only women who are pressured into sexual activity by men. A large number of cases of sexually violated men goes unreported each year. Finally, there are of course many women who are able to express themselves when it comes to sexual interactions as well as many men who are sensitized when it comes to the wishes of their partner.

For more information on consent and what it is, what it isn’t, and how it functions in different relationships, watch this video.

The post 6 things everyone needs to know about sex and consent appeared first on Exposing The Truth.

Permanent link to this article: https://news.truthjuice.co.uk/index.php/6-things-everyone-needs-to-know-about-sex-and-consent/

Malaria blood filter and anti-counterfeit plasma win engineering award

Matthew Murray, Alpin George Frodsham, MediSieve  Matthew Murray, Alpin Bethan Wolfenden and Philipp Boeing's lab-in-a-box 

An anti-counterfeiting system that implants unique plasma ‘fingerprints’ into glass has been awarded the Royal Academy of Engineering’s Enterprise Hub prize. The runners-up, however, are no less game-changing. They range from a blood filter that removes magnetised red blood cells infected with malaria, to a super-thin display for wearables that could find uses in glazing and jewellery, and a compact molecular lab for the home.

The Enterprise Hub was set up to help academics launch businesses, and provides mentorship as well as funding. Last year’s RAEng ERA Foundation Entrepreneurs’ Award winners included the engineer behind a low cost cancer research tool, and the designer of impact-absorbing clothing for the elderly.

By: Liat Clark,

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Permanent link to this article: https://news.truthjuice.co.uk/index.php/malaria-blood-filter-and-anti-counterfeit-plasma-win-engineering-award/

Anglo-Saxon eye potion helps fight against superbug

A treatment for eye infections that dates back to the
Anglo-Saxon era has been found to successfully attack the modern
hospital “superbug” MRSA. 

Collaborative research at the University of Nottingham
between Christina Lee, an Anglo-Saxon expert from the School of
English, and microbiologist Freya Harrison, led to a recreation of
the ointment, which dates back to the 10th century, and was
used to treat common eye infections such as styes. 

 

By: Daniel Culpan,

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Permanent link to this article: https://news.truthjuice.co.uk/index.php/anglo-saxon-eye-potion-helps-fight-against-superbug/

Glow-in-the-dark tampons highlight river sewage

Glow-in-the-dark tampons could show us where sewage is
accidentally being leaked into rivers.

The novel technique is being proposed by a team from the
University of Sheffield’s Faculty of Engineering, which
has proven its theory by attaching tampons to 16 surface
water outlets that run into Sheffield’s rivers and
streams. When the tampons glowed under ultraviolet light, the team
knew waste water was present at the outlet.

 

By: Liat Clark,

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Permanent link to this article: https://news.truthjuice.co.uk/index.php/glow-in-the-dark-tampons-highlight-river-sewage/

Ants in space prove adept at battling microgravity

Ants in space is not the premise for the latest Dreamworks film,
but for an experiment carried out aboard the International
Space Station (ISS). 

Eight colonies of common ants were flown up to the ISS by Nasa
in 2014 in order that researchers might study the effects of
microgravity on their behaviour and movements. A study published
this week in Frontiers of Ecology and
Evolution
 details the results of these experiments.

 

By: Katie Collins,

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Permanent link to this article: https://news.truthjuice.co.uk/index.php/ants-in-space-prove-adept-at-battling-microgravity/

PI3K-Akt1 expression and its significance in liver tissues with chronic fluorosis

Permanent link to this article: https://news.truthjuice.co.uk/index.php/pi3k-akt1-expression-and-its-significance-in-liver-tissues-with-chronic-fluorosis/

Interview 1020 – Simon Krimms Authors an anti-NWO Children’s Book


Today we’re joined on the program by Simon Krimms, an English teacher in Japan who has authored “Rollerdog,” a book “designed for little people growing up in the brave new world (order) of the 21st century.” Through his inventive tale and multi-layered illustrations, Krimms hopes to deprogram children from the NWO matrix without fear while providing a warning for parents about the world around us.

Permanent link to this article: https://news.truthjuice.co.uk/index.php/interview-1020-simon-krimms-authors-an-anti-nwo-childrens-book/

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