The Concept: To perceive is to think and to think is to be. Indeed, it is our perception that guides our conscious reality. I chase after my thoughts to understand how they work. I find myself picoseconds behind the present conscious moment; never quite able to precisely perceive my thinking experience. Nevertheless, I want to force a meeting with myself and provoke a state of heightened self-conscious awareness. I seek the instant when I am able to perceive myself from within myself, although I am seemingly outside of myself looking in.
Inherent in my ‘self’ is the desire to scito te ipsum (Latin, translated as “know thyself”). “Why am I here? . . . I have to figure out some way of explaining that to myself.” (Burnett) It is our very connection to reality that is at stake. “The neurotic turns away from reality because he finds either the whole or parts of it unreadable.” (Freud) It is therefore important for us to develop tools to help us understand our ‘selves’.
The transition from needing to know to actually knowing the ‘self’ is facilitated by ‘reflection’. Reflexivity is highly relevant to my explorations of the mind and perception. Mirrors have the power to reflect not only our physical appearance but our dynamic conscious perception of that appearance simultaneously in a single yet constantly changing conscious moment (reflexivity). This self-awareness experience can therefore be described as circling around the sensation of feeling our ‘self’ in the moment.
It is by mindfulness or awareness of my perceptive apparatus that I hypothesize I will reach ‘hyperconscious reflexivity’. My intention is to build a mental mechanism such that the mind can identify with the self as it continuously changes. My focus will be the research and development of ‘Mind Mirrors’ that achieve a reflection of the mind back onto itself. I will combine the principles inherent in reflexivity with biofeedback information collected from viewers in a gallery space.
I will research the perceptive apparatus of the mind (as separate from the brain), the physiological expressions of the mind (biofeedback), and theoretical concepts of consciousness to help me build artworks. Through creative electronic visualizations (displaying a metaphor of the mind), I will explore the possibility of visualizing and thereby understanding our dynamic visual perception. My goal is to answer the question: can perception be visually displayed or metaphorically visualized? Furthermore, can we reach another layer of awareness through ‘hyperconscious reflexivity’?
Knowledge Deficit: “Is our scientific understanding of fundamental principles already more or less complete? Have all the big questions been answered?” (Sheldrake) “Philosophical, psychological and neural theories” (Rose) attempting to explain how our consciousness works have been developed. We are even beginning to investigate the physical theory of the electromagnetic consciousness (McFadden) but science has not provided a complete explanation for the brain/mind paradigm.
“To many people, science is seen as a source of certainty, a box full of answers that can be trotted out when dealing with life’s many questions. Most working scientists, however, see their subject in a very different light: as a method for navigating effectively in an uncertain world” (Cohen). Currently, interpretation of our subjective perception eludes traditional scientific understanding. From a purely biological point of view, our ‘visual reality’ is thought to be a physical connection of light, our eyes and brain, yet we know that we interpret the world when we perceive it. It is important to recognize that there exists a significant knowledge deficit in the area of the perceptive apparatus and human consciousness. Phenomena like “telepathy and the sense of being stared at are currently unexplained in scientific terms” (Sheldrake).
Therefore, my investigation will be focused on creative experimentation, co-fitted with interactive technology, to develop a metaphor of the thinking experience and address the knowledge deficit in our understanding of the mind and our extended perceptive apparatus.
The Role of Art: “Art is somewhat like the brain. It is a vehicle out of which from nothing comes so much” (Burnett). The functional similarities between the creative arts and the mind make art a likely candidate for the study of the mind. Art exists at the point where perception and understanding coexist. Furthermore, one must ask if the scope of science is capable of this exploration alone, or if some partnership with art is more likely to provide some answers. My research is somewhere at the intersection of art and science, as they both relate to the perceptive apparatus. I am trying to build a concept that is not as much a social understanding (in art terms) as it is a study of how concepts regarding perception and the mind can be developed using art.
It is important to mention here that the complexity of the mind and the perceptive apparatus cannot be reduced to the functions of the brain alone. The brain is a mass of biological matter that computes information using bio-electrical signals. In contrast, the mind is an interpretative (dynamic and expressive) experience ‘space’ that is currently undefined physically or conceptually in any unified description.
Rescher explains that; “if nature were not rulish in exhibiting manifold regularities – if it were pervasively ‘unruly’ (say, because its laws changed rapidly and randomly) – then anything approaching a scientific study of the world would clearly be impossible” (Rescher). With this line of reasoning we can see how it has been difficult for biological science to explain the mind (as distinct from the brain) and subjective perception because the mind changes rapidly and seemingly without a quantifiable order. A similar disorder is observed in artistic expression because it is dynamic, uncertain and ‘unruly’ as a creative process (or method). The process of artistic expression may be characterized as disordered, even though a ‘finished’ work of art results from an artist’s innovative labor. Thus, it is sensible to consider the use of the creative arts to excogitate theories about our dynamic conscious mind. “Art then, is an increase of life, a sort of competition of surprises that stimulate our consciousness and keep us from becoming somnolent” (Whiten). “The minute you relax and you are comfortable with your own state of mind . . . you actually fall asleep” (Burnett).
There are several reasons why I think that the arts are pivotal to my investigation of the conscious mind. First, the artist has an inherent sense of human perception. When making works of art we are always conscious of the ‘perceptive potential’ of our intended audience. Second, the creative arts always take a flexible methodological approach to any kind of investigation and this allows for a holistic ‘bottom-up’ perspective. Third, “an artist is multidisciplinary by nature” (Burnett) and this allows for ‘cross-inter-multi-disciplinary’ collaborative research initiatives that are certainly required when attempting any sort of inquiry into something as complex as the mind. Fourth, the artist is always ‘experimenting’, but rarely equates art to scientific research although they are both scholarly endeavors. Finally, many artists throughout history have studied human perception and shown that art can illuminate contemporary investigations of the mind and reflexivity.
One specific example is Diego Velazquez’s oil on canvas painting ‘Las Meninas’ (1656) (Fig.1). Velazquez uses a mirror in the background to unveil the concept of reflection as a window of access into the symbolism that is inherent in reflection. First, he is painting his ‘self’-portrait. He is also painting a reflected subject being painted in his painting (the king and queen and the observer or arguably the painting within the painting) (Werness). Finally, he is painting the vehicle of reflection itself - the mirror - in the background. These three representations of the observer, the reflected and the source of reflection (the mirror) encompass the critical elements required for understanding the perceived cycle of reflexivity. Foucault reads Velazquez at the beginning of his text, The Order of Things (Foucault) as portraying a paradoxical relationship between reality and representation (Ashley). Essentially, Foucault demonstrates that “they are all representations of a point of reality outside of the painting” (Ashley).
The fine arts have always elucidated complex philosophy through visualizations, and have been able to help us study the ‘essence’ of things. Creative visualizations of reflexivity transition us from the stagnant perspective of oppositions to a continuum of interwoven relationships. Understanding our reflection in terms of a dynamic event can allow us to accept the uncanny feeling we experience during the reflection sensation.
Redefining art with technology: I am not a scientist. I am working with a metaphorical representation of the mind as ‘visualized’ by art. However, I make use of biofeedback and other technology to drive these investigations, analogous to cognitive scientists. Artworks such as ‘Las Meninas’ (1656) are complete in their own right, however, the introduction of electronics and interactive technology have provided us with new faculty in ‘research’ driven creative projects. We are exponentially speeding towards a new era of interactive art using augmented reality, modular robotics, interactive cybernetics, immersive environments, and kinetic art. We are adding a new dimension of technology to traditional explorations of perception in the arts. Additionally, since “an artist is multidisciplinary by nature” (Burnett), this facilitates interdisciplinary collaborations. As such, I will be utilizing cognitive science and electrical engineering expertise. I have established research collaborations with Dr. Hélène Gauchou of the University of British Columbia (UBC) Cognition Lab (headed by Dr. Ronald Rensink) and electrical engineer Randy Glenn.
A foundation has already been established in creative electronic art that explores the mind and reflexivity. For example, “Aurora Consurgens” (Driesen) (Fig.2) is “proposing to the world a way of communication with the inner realms of consciousness through technological processes.” (Driesen) The artwork samples biofeedback in the form of electroencephalography (EEG) from viewers who can see and interact with each other based on the visual representations of their thoughts projected on the wall. It is important to reiterate here that the complexity of the mind and the perceptive apparatus cannot be reduced to the functions of the brain alone. Therefore, when using biofeedback I will not only focus on EEG, but instead use a wide variety of biofeedback to explore various mind/body reactions using a holistic cross-disciplinary approach.
“Wooden Mirror” (Rozin) (Fig.3) is another example of creative electronic art that explores the mind and reflexivity. The “Wooden Mirror” (Rozin) is made up of small wood chip ‘pixels’ and reflects light in such a way as to display a ‘wooden mirror’ image of the observer. Just like a glass mirror, the ‘wooden mirror’ changes with the viewers’ movements. However, this mirror reflects a pixilated image. Similar to a glass mirrors’ reflection of light, the ‘wooden mirror’ contains the basic ingredients required to provoke a state of image recognition. However, the viewer is more likely to engage with the artwork as a technologically exciting gadget rather than a display provoking self-awareness. Part of the reason is that it does not provide the amount of detail that a ‘bathroom mirror’ can, even though it does provide enough detail for recognizable forms to appear.
The key to successfully reflecting a recognizable form that also induces a ‘super-conscious’ state of ‘hyper-real’ self-recognition is including the critical elements required to generate said reflection at a high enough ‘resolution’. Therefore, my use of biofeedback technology to reflect the mind in a ‘Mind Mirror’ will be tested to its ‘reflective potential’ as a recognizable reflection of thought is attempted.
Can the source of thought, as extracted from the body using biofeedback, be recorded and reflected with minimal ‘pixilation’ and maintain the key elements required to generate an effective ‘thought awareness mirror’? Is it possible for a transformation from a self-centered view to a self-actualised perspective of the ‘self’ with my ‘Mind Mirror’ displays? At the intersection between the biofeedback technology of “Aurora Consurgens” (Driesen) and the creative kinetic electronics of the “Wooden Mirror” (Rozin) is my own thesis project the ‘Mind Mirror’. I intend on contributing to knowledge in the field of interactive and creative electronic art research.
Thesis Concept: At the heart of my research projects are two concepts; the mirror (as facilitator of reflection) and the ‘self’ (the metaphor of our reflection representing our perception). The ‘Mind Mirror’ displays I will develop as a part of my research are an exploration and experiment into whether or not visual metaphor (using real biofeedback data) will give some sense of the mind’s visual cognitive apparatus.
Mirrors have the power to uncover the very nature of our being. They confirm our existence by reflecting an image of us enacting our ‘self’. Our reflection can take on both the role of reflector and reflected (perceiver and perceived). The mirror stage of a child’s psychological development is an important starting point in understanding our visual reflection. Lacan states that: "the mirror stage is a phenomenon to which I assign a twofold value. In the first place, it has historical value as it marks a decisive turning-point in the mental development of the child. In the second place, it typifies an essential libidinal relationship with the body image" (Lacan). Using our newly discovered mirror image, we achieve a heightened capacity for self-awareness that enhances our state of consciousness.
A mirror locks our eyes and our perception in a cycle of ‘hyper-reality’ and I assert that a mirrors’ reflection can help facilitate understanding of the thinking experience. Consider the word RE-flections. “The Latin particle re-, which corresponds to the English ‘again’ and ‘against’, properly denotes a turning back (upon oneself or itself) or an opposition” (Gasche). A reflection is therefore manifested in ‘simulacrum’ defined by Plato as a copy of a copy or a double of a double; which itself signifies an original (Gasche). This cycle of a reflective continuum is whole and moving at the same time and that is what facilitates the reflection sensation. The mirror image and the viewer’s body are being reflected simultaneously against one another to produce a moment of recognition and this is the moment I will focus on in my ‘Mind Mirrors’.
It is not in the initial physical reflection but in “the secondary reflective relation” that “introduces a certain separation or transcendence within the self, and finally permits the range of self-consciousness” (Brockelman). Using these fundamental principles of reflection I intend on building ‘Mind Mirrors’ that will facilitate ‘hyperconscious reflexivity’.
Thesis Projects: “When I get an idea I start at once building it up in my imagination. I change the construction, make improvements and operate the device in my mind” (Tesla). This is a perfect description of my creative process. My work will be a creative behavioral experiment investigating our perceptive mechanism in an effort to understand (visualize) our complex objective mind.
I have planned three works of art that I intend on manifesting as experiments to test my theories of metaphorically visualizing perception and inducing ‘hyperconscious reflexivity’. In each case I will use creative interactive electronics, the basic principles of reflection, and contemporary theories of consciousness to build ‘Mind Mirrors’. Each display attempts to illustrate something that is ‘unseen’ using creative visualizations (metaphorical representations). The three ‘unseen’ elements explored (as relevant to the perceptive apparatus and consciousness) are “The Sense of Being Stared AT” (Sheldrake), ‘mind energy’, and the electromagnetic consciousness.
The first creative experiment attempts to make the viewer aware of their viewing experience and explore “The Sense of Being Stared AT”(Sheldrake). Entitled ‘Zeugen v2‘ (a completion of a work in progress called ‘Zeugen v1‘), this creative experiment asks if we passively witness or if we are also witnesses of ourselves in the act of witnessing. ‘Zeugen v2‘ is a robotic (cybernetic) artwork controlling 32 motion tracking human-cast faces that have moving eyes for watching and tracking patrons’ movements in the gallery space. The interactive technologies used for this project are motion tracking cameras and ultrasonic distance sensors. A power struggle is revealed causing tension between the witnessing and the witnessed. This vaguely uncomfortable sensation of being stared at is the self-reflexive element in this work.
“Energy Reflection Mind Mirror (a tribute to Tesla)” is the second experiment that will attempt to reflect pure energy back to the mind as a visual metaphor for the viewer’s mind. I will use biofeedback such as: galvanic skin response (GSR), thermal feedback, electrocardiography (ECG), electroencephalography (EEG), and a Theremin (E-field sensing). I will combine the data expressed by the body and show representations of thought on a grid of Tesla coils (Fig.4). The resulting visual experience will be similar to miniature bolts of lightning traversing a matrix (grid) of pure electrical energy. As the viewer is excited or increases their state of intense thought, the display will react attempting to mirror the mind in visual metaphor and evoke ‘hyperconscious reflexivity’.
The third project entitled “Magnetic Mind Mirror (body waves)” will be based on “the conscious electromagnetic information field (CEMI field) theory, claiming . . . the brain’s electromagnetic field is . . . capable of communicating its informational content to the outside world” (McFadden). “Magnetic Mind Mirror (body waves)” will use various biofeedback inputs from the viewer and transform the data into interpretations on a magnetic display. For the display, I will generate a grid of nails that can be thought of as pixels on a screen. The display will also have a “ferrofluid”-like (Herlach et al.) magnetic aqueous solution that will respond to magnetism. Each nail (or pixel) will then be activated magnetically to varying degrees and the resulting display will be a grayscale image entirely controlled by magnetic forces. I have been influenced by the recent artwork of Kodama and Takeno, “Protrude, Flow” (Kodama and Takeno). This work consists of a dynamically changing interactive ferrofluid that used magnetic energy and was “affected by the sounds and spectators' voices in the exhibition place”(Takeno).
In exploration of various interactivity and response loops each work may also include accelerometers, inertia measurement units, and force sensing resistors. Each project will involve to some degree human-computer interaction. The focus will be on body gesture and biofeedback computer interfacing.
As an artist I am trying to balance metaphor and scientific concreteness by displaying creative cartographic visualizations of the brain, while at the same time using real data. However, seeing the brain activity is one thing, but being able to interpret the data is another. I am researching current trends in biofeedback mapping and I am conscious of the fact that thinking cannot be totally captured through a graph or points on a screen.
Biofeedback visualization tools will allow for observing reactions of the brain and interrelated metaphorical representations of the mind. The ‘visualized’ interpretations (metaphor) of the biofeedback data will only be ‘readable’ by each individual viewer in a self-reflexive event. I am linking the mind and body with technology to visualize perception, not from a strictly biological model, but as an artwork that requires unique and individual interpretations of each viewer. The visualization technology becomes an abstraction from which we can extract meaning about the visual mind/body space that is expressed and represented when a viewer interacts with my work. The complex nonlinear nature of the mind makes it impossible for an all encompassing visualization of perception (be it EEG, MRI or others). Rather than try to ‘accurately’ visualize the brain’s activity (as a representative of the mind), I will attempt to provoke the individual response of each viewer. I hypothesize that each viewer has the ability to translate abstractions into personal meaning via ‘Mind Mirrors’ in a ‘self-reflexive’ moment.
In a glass mirror, our perception is contained by the image of our physical body and because it is hard to completely identify with the sensation of simultaneity in the reflection, we tend to ignore or deny this ‘other’ sensation. This ultimately results in our inability to realize our full ‘hyperconscious’ perceptive potential. Simultaneity is a key concept in reflexivity. We are continuously becoming the image of ourselves when we look in the mirror. A mirror not only shows the minute changes in our appearance as we comb our hair, but the dynamic perception of our self-image that is changing in our mind throughout our entire life. What distinguishes a representation from a reflection? A reflection is distinct because it happens in real time and changes as we do. It is not one thought but our entire consciousness that is being represented in any given reflective display. However, the interactivity between the viewer and the artwork gives the work a layer of simultaneity as an immersive environment. My ultimate goal remains to investigate the possibility of representing visual perception, analogous to a painter representing something literal in an abstract painting.
Additional Outcomes: Duchamp’s “Rotary Demisphere (Precision Optics)” (1925) was “an early example of ‘interactive art’ … the viewer becomes an active participant in the art . . . required to turn on the optical machine and stand one meter away.” (Rush). Since then, artists have taken to using microcontrollers and sensors when building interactive electronics projects. In order to facilitate the viewer’s biofeedback interactivity with my ‘Mind Mirror’ displays I will also be using creative electronics microcontrollers.
One of the most popular microcontroller and programming environments for artists is Arduino. “Arduino is an open-source electronics prototyping platform based on flexible, easy-to-use hardware and software. It's intended for artists, designers, hobbyists, and anyone interested in creating interactive objects or environments” (Arduino). However, the Arduino cannot provide the scalability and control that are required to realize my designs. In collaboration with Randy Glenn, I am designing a new microcontroller called ‘Displayduino’. The controller will be based on the Open Source Arduino programming language and once completed I will offer it to the broader artist community online (under the GPL Open Source license). A technical contributions blog, extensive information, and community support website will be built (http://www.Displayduino.com). In addition to Displayduino, we will be developing ‘daughter’ or ‘sub’ boards for controlling servo motors, LED lights, and any other electronic device operating from 0 to 12 volts. These boards can be ‘daisy chained’ or networked (via RS485) to extend matrices of the devices. In pursuit of my own creative electronics projects and as an extension to my thesis research, Displayduino will also become a tool that artists can use to develop similar creative experiments.
In addition to the microelectronics controller contributions I have planned, I will be developing an online open source database collecting the interactivity and biofeedback information from my artworks for future research and analysis. Open Source Interactive (http://www.OpenSourceInteractive.net/) will consist of a project share and open results database that will promote international contributions of biofeedback and interactivity data and will contribute to the study of cognitive psychology and human computer interaction design.
Epilogue: I am developing artwork that can be expressed as a metaphor of the mind and I ‘visualize’ biofeedback data in the displays from physical responses. I want to understand the conscious experience and achieve another layer of awareness through ‘hyperconscious reflexivity’. The experience of being reflected must be realized in a dynamic way in order for us to identify with the sensation of reflection and eventually use ‘reflexivity’ elements to design the reflection of pure thought. It is quite obvious that the purpose of a mirror is indeed to provide a reflection but limiting our understanding of the ‘reflection sensation’ to the visual image denies us the simultaneity of “that thinking feeling” (Heywood). However, “any kind of research is always operating at a certain level of abstraction from the real and the best research is the kind of research that says ‘we are only able to take a small portion of this’ and perhaps a consequence of that are some generalizations . . . always tentative” (Burnett). Embracing this reality, I will use the powerful and observable theoretical constructs of metaphor and simulation to develop visualizations of the mind using ‘Mind Mirrors’.
 |
 |
Figure 1: Diego Velazquez ‘Las Meninas’
(1656) |
Figure 3: Daniel Rozin “Wooden Mirror”
(1999) |
 |
 |
Figure 2: Horia Cosmin Samoila and Marie Christine Driesen “Aurora Consurgens”
(2008) |
Figure 4: A Tesla Coil |
Works Cited:
Arduino. 2009. <http://www.arduino.cc/>.
Ashley, David "Las Meninas". 2008. University of Wyoming Website. <http://uwacadweb.uwyo.edu/Ashleywy/las_meninas.htm>.
Brockelman, Paul. Time and Self: Phenomenological Explorations. New York: The Crossroad Publishing Company, 1985.
Burnett, Ron. Dr. Ron Burnett in Thesis Meetings with Morgan Rauscher. Morgan Rauscher, Vancouver 2008-9.
Cohen, Ian Stewart and Jack. Fragments or Reality: The Evolution of the Curious Mind. Cambridge: Cambridge University Press, 1997.
Driesen, Horia Cosmin Samoila and Marie Christine. Aurora Consurgens. 2009. ghostlab.org.
Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books, 1970.
Freud, Sigmund. The Unconscious. Trans. Graham Frankland. 106 ed. London: Penguin Books, 2005.
Gasche, Rodolphe. The Tain of the Mirror: Derrida and the Philosophy of Reflection. Cambridge, Massachusetts and London, England: Harvard University Press, 1986.
Mu Sr on Co1-Xpdx, an Alloy Exhibiting Ferromagnetism in the Liquid Phase. 8th International Conference on Muon Spin Rotation, Relaxation and Resonance. Aug 30-Sep 03 1999. Elsevier Science Bv.
Heywood, I. A Shock to Thought: Expression after Deleuze and Guattari. British Society of Aesthetics, 2004.
Kodama, Sachiko , and Minako Takeno. Protrude, Flow. 2001.
Lacan, Jacques "Some Reflections on the Ego." International Journal of Psychoanalysis 34 (1953): 11-17.
McFadden, Johnjoe. "The Conscious Electromagnetic Information (Cemi) Field Theory." Journal of Consciousness Studies 9.8 (2002): 45-60.
Rescher, Nicholas. Cognitive Harmony: The Role of Systemic Harmony in the Constitution of Knowledge. Pittsburgh The University of Pittsburgh Press, 2005.
Rose, David. Consciousness: Philosophical, Psychological and Neural Theories. New York: Oxford University Press, 2006.
Rozin, Daniel. The Wooden Mirror. 1999, New York.
Rush, Michael. New Media in Late 20th Century Art. London: Thames and Hudson, 1999.
Sheldrake, Rupert. The Sense of Being Stared At : And Other Aspects of the Extended Mind. New York: Crown Publishers, 2003.
Takeno, Sachiko Kodama and Minako. Protrude, Flow. 2001.
Tesla, Nikola. My Inventions: The Autobiography of Nikola Tesla. Cosimo, Inc., 2007.
Werness, Hope B. The Symbolism of Mirrors in Art from Ancient Times to the Present. Lewiston, Queenston, Lampeter: The Edwin Mellen Press, 1999.
Whiten, Tim. Tim Whiten: Messages from the Light. Toronto: The Koffler Gallery, 1941.
Ashley, David Las Meninas. 2008. University of Wyoming Website.
Driesen, Horia Cosmin Samoila and Marie Christine. Aurora Consurgens. 2009. ghostlab.org.
Duchamp, Marcel. Rotary Demisphere (Precision Optics). 1925.
Kodama, Sachiko , and Minako Takeno. Protrude, Flow. 2001.
Montgomery, Sean. Thinking Cap. 2007.
Rauscher, Morgan. Energy Reflection Mind Mirror” (a Tribute to Nicola Tesla). 2009. Emily Carr University of Art and Design, Vancouver.
Rozin, Daniel. The Wooden Mirror. 1999, New York.
Snow, M. Encyclopedia. 1929. Art Gallery of Ontario, Toronto.
Brockelman, Paul. Time and Self: Phenomenological Explorations. New York: The Crossroad Publishing Company, 1985.
Burnett, Ron. How Images Think. Cambridge, Mass: MIT Press 2004.
Carman, M. Decentralised, Non-Hierarchical, Automatic Response System. Cultural Affairs No.6. Ed. P. Spackman. New York: Assosiated Councils of the Arts, 1969.
Carroll, Lewis. Through the Looking-Glass and What Alice Found There. London: Macmillan and Co. 1872, 1832-1898.
Cohen, Ian Stewart and Jack. Fragments or Reality: The Evolution of the Curious Mind. Cambridge: Cambridge University Press, 1997.
Cornwell, R. Seen: The Films and Photographs of Michael Snow. Toronto: Pma Books, 1980.
Crary, J. . Techniques of the Observer. MIT Press Cambridge, Mass, 1992.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
---. Difference and Repetition. Trans. P. Patton. New York: Columbia University Press, 1994.
Feibleman, James K. Inside the Great Mirror. The Hague (Netherlands): Martinus Nijhoff, 1958.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Blackwell Publishing, 1977.
---. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books, 1970.
Freud, Sigmund. The Unconscious. Trans. Graham Frankland. 106 ed. London: Penguin Books, 2005.
Frisby, Ilona Roth and John P. Perception and Representation: A Cognitive Approach. Philadelphia: Open University Press, 1986.
Gasche, Rodolphe. The Taine of the Mirror: Derrida and the Philosophy of Reflection. Cambridge, Massachusetts and London, England: Harvard University Press, 1986.
Gerhard K. Lang, M. D. Ophthalmology. Trans. John Grossman. New York: Thieme Stuttgart, 2000.
Heywood, I. A Shock to Thought: Expression after Deleuze and Guattari. British Society of Aesthetics, 2004.
Hodin, J.P. Modern Art and the Modern Mind. Cleveland: The Press of Case Western Reserve University, 1972.
Ippolito, Joline Blais and Jon. At the Edge of Art. London: Thames & Hudson, 2006.
Kellman, T. Figuring Redemption. Wilfrid Laurier University Press, 2002.
Kozloff, Max. Cubism/Futurism. New York: Charterhouse, 1973.
Lewis, Clarence Irving. Mind and the World-Order: Outline of the Theory of Knowledge New York, Chicago, Boston: Charles Scribner's Sons & The Scribner Press.
Metz, Christian. Language and Cinema. Trans. Donna Jean Umiker-Sebeok. Approaches to Seminotics. Ed. Thomas A. Sebeok. The Hague, 1974.
Mitry, Jean. Semiotics and the Analysis of Film. Trans. Christopher King. London: The Athlone Press, 2000.
Nash, J.M. Cubism, Futurism and Constructivism. London: Thames and Hudson, 1974.
Oshima, Nagisa. Cinema, Censorship and the State: The Writings of Nagisa Oshima. Cambridge: MIT Press, 1992.
Prueitt, M.L. Art and the Computer. New York: McGraw-Hill Book Company, 1984.
Rauche, Ga. Knowledge and Experience: A Typology of Knowledge in Hermeneutical Perspective. Alice - Republic of Ciskei: The Fort Hare University Press, 1990.
Recher, Nicholas. Epistemology: An Introduction to the Theory of Knowledge. Ed. George R. Lucas Jr. Albany: State University of New York Press, 2003.
Rescher, Nicholas. Cognitive Harmony: The Role of Systemic Harmony in the Constitution of Knowledge. Pittsburgh The University of Pittsburgh Press, 2005.
Rock, Irvin. Perception. New York: Scientific American Books, Inc., 1995.
Rose, David. Consciousness: Philosophical, Psychological and Neural Theories. New York: Oxford University Press, 2006.
Ross, Norbert. Culture & Cognition: Implications for Theory and Method. Thousand Oaks: Sage Publications, 2004.
Roth, Ilona, and John P. Frisby. Perception and Representation: A Cognitive Approach. Philadelphia: Open University Press, 1986.
Rush, Michael. New Media in Late 20th Century Art. London: Thames and Hudson, 1999.
Schulkin, Jay. Cognitive Adaptation: A Pragmatist Perspective. New York: Cambridge University Press, 2009.
Scott, William A., D. Wayne Osgood, and Christopher Peterson. Cognitive Structure: Theory and Measurement of Individual Differences. New York: John Wiley & Sons, 1979.
Sheldrake, Rupert. The Sense of Being Stared At : And Other Aspects of the Extended Mind. New York: Crown Publishers, 2003.
Snow, M. The Collected Writings of Michael Snow. Waterloo: Wilfrid Laurier University Press, 1994.
Tesla, Nikola. My Inventions: The Autobiography of Nikola Tesla. Cosimo, Inc., 2007.
Turim, Maureen. Abstraction in Avant-Garde Films. Studies in Cinema. Ed. Diane M. Kirkpatrick. Ann Arbor: UMI Research Press, 1978.
---. The Films of Oshima Nagisa. Berkeley: University of California Press, 1998.
---. Flashbacks in Film. New York: Routledge, Chapman and Hall, Inc., 1989.
Werness, Hope B. The Symbolism of Mirrors in Art from Ancient Times to the Present. Lewiston, Queenston, Lampeter: The Edwin Mellen Press, 1999.
Whiten, Tim. Tim Whiten: Messages from the Light. Toronto: The Koffler Gallery, 1941.
Wollen, Peter. Paris Hollywood: Writings on Film. London and New York: Verso, 2002.
Comolli, Jean-Louis. "Machines of the Visible." The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. vols. New York: St. Martin's Press, 1980. 121.
La Belle, Jenijoy. "The Differential Image." Herself Beheld: The Literature of the Looking Glass. vols. Ithaca and London: Cornell University Press, 1988. 42.
Lauretis, Teresa de. "Through the Looking-Glass." The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. vols. New York: St. Martin's Press, 1980. 187.
Levine, Steven Z. "From Self-Infatuation to Self-Reflection." Monet, Narcissus, and Self-Reflection. vols. Chicago and London: The University of Chicago Press, 1994. 15-24.
McMahon, Melissa. "Beauty: Machinic Repetition in the Age of Art." A Shock to Thought: Expressions after Deleuze and Guattari. Ed. Brian Massumi. vols. London: Routledge, 2001. 3-8.
Murphie, Andrew. "Putting the Virtual Back into Vr " A Shock to Thought: Expressions after Deleuze and Guattari. Ed. Brian Massumi. vols. London: Routledge, 2001. 188-209.
Tudor, Andrew. "Sociological Perspectives on Film Aesthetics." Working Papers on the Cinema. Ed. Peter Wollen. vols. London: British Film Institute. 10.
Turim, Maureen. "The Place of Visual Illusions." The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath. vols. New York: St. Martin's Press, 1980. 143.
Baumgartner, Peter , and Sabine Payr, eds. Speaking Minds: Interviews with Twenty Eminent Cognative Scientists. New Jersey: Princeton University Press, 1995.
Beardon, Colin, and Lone Malmborg, eds. Digital Creativity: A Reader. Lisse: Swets & Zeitlinger Publishers, 2002.
Brand, Myles , Peter Culicover, and Keith Lehrer, eds. The Representation of Knowledge and Belief. Tucson: The University of Arizona Press, 1986.
Brown, Paul, et al., eds. White Heat Cold Logic: British Computer Art 1960-1980. Cambridge, Massachusetts: The MIT Press, 2008.
de Lauretis, Teresa , and Stephen Heath, eds. The Cinematic Apparatus. New York: St. Martin's Press Inc., 1980.
Hentschel, Uwe, Gudmund Smith, and Juris G. Draguns, eds. The Roots of Preception: Individual Differences in Information Processing within and Beyond Awareness. Amsterdam, New York, Oxford, Tokyo: North-Holland 1991.
Massumi, Brian, ed. Shock to Thought, Expression after Deleuze and Guattari. London and New York: Routledge Taylor & Francis Group, 2001.
Rodeschini, Giacinto Di and Maria Cristina, ed. The Future of Futurism: The "Italian Revolution" To Contemporary Art. Milan: Electa, 2008.
Warnock, G.J., ed. The Philosophy of Perception. London: Oxford University Press, 1997.
Zardoz. Dir. Boorman, John. John Boorman. 1974.
Eagle Eye. Dir. Caruso, D.J. Alex Kurtzman Steven Spielberg, Roberto Orci, Pat Crowley, Ed McDonnell. 2008.
The Day the Earth Stood Still. Dir. Derrickson, Scott. Erwin Stoff and Paul Harris Boardman. 2008.
2001: A Space Odyssey. Dir. Kubrick, Stanley. Stanley Kubrick. 1968.
Metropolis. Dir. Lang, Fritz. Erich Pommer. 1927.
Blade Runner. Dir. Scott, Ridley. Michael Deeley. 1982.
X-Men (Film Series). Dir. Singer, Bryan , Brett Ratner, and Gavin Hood. Lauren Shuler Donner, et al. 1994-2011.
Minority Report. Dir. Spielberg, Steven. Gerald R. Molen, et al. 2002.
Total Recall. Dir. Verhoeven, Paul. Mario Kassar. 1990.
The Matrix. Dir. Wachowski-brothers. Joel Silver. 1999.
Equilibrium. Dir. Wimmer, Kurt. Jan de Bont and Lucas Foster. 2002.
Cowey, A., and Stoerig. P. "The Neurobiology of Blindsight." Trends Neurosci 14.4 (1991): 140-5.
Foucault, Michel. "Des Espace Autres." (1967).
Lacan, Jacques "Some Reflections on the Ego." International Journal of Psychoanalysis 34 (1953): 11-17.
Luu, Sheena. "Decoding Subjective Preference from Single-Trial near-Infrared Spectroscopy Signals." J. Neural Eng. 6.016003 ( 2009).
McFadden, Johnjoe. "The Conscious Electromagnetic Information (Cemi) Field Theory." Journal of Consciousness Studies 9.8 (2002): 45-60.
---. "Synchronous Firing and Its Influence on the Brain’s Electromagnetic Field." Journal of Consciousness Studies 9.4 (2002): 23-50.
Ramachandran, V. S., and D. Rogers Ramachandran. "Synaesthesia in Phantom Limbs Induced with Mirrors." Proceedings of the Royal Society of London Series B-Biological Sciences 263.1369 (1996): 377-86.
Hamilton, W. . "With the World Redesigned, What Role for Designers? ." The New York Times Oct 25, 2001.
Lord, T. "Honda Develops Brain Interface for Robot Control ". Slashdot Mar 31, 2009.
Thomson, Elizabeth A. "Monkey Controls Robotic Arm Using Brain Signals Sent over Internet." news office Dec 6, 2000.
"Self-Replicating Repairing Robots." Ed. Cornell University: youtube.com, 2006.
BBC. "Oliver Sacks - Rage for Order." Rage For Order from the Mind Traveler: Google Video, 2008.
BMW, (Bavarian Motor Works). "Bmw Augmented Reality." youtube.com, 2007.
Boahen, Kwabena. "Making a Computer That Works Like the Brain." Trans. Kwabena Boahen. TED. USA: TED, 2008. 16:12. Ed. TEDTalks.
Daniel Broten, Graham Bury, David Johnson. "Augmented Reality Technology (Art) of War." Ed. University of Waterloo: youtube.com, Oct. 2007.
Eaton, Marc J. Seifer and Tim. "Nikola Tesla - the Forgotten Wizard." youtube.com, 2007.
Edelman, Dr. Gerald. "Gerald Edelman - Neurophilosophy." Scripps Research Institute: Google Video, 2007.
Hawkins, Jeff. "Brain Science Is About to Fundamentally Change Computing." TED Conferences, LLC, Feb 2003.
Institute, The Neurosciences. "Gerald Edelman - from Brain Dynamics to Consciousness." IBM Research's Almaden Institute Conference on Cognitive Computing: Google Video, 2006.
TED Conferences, LLC. "Juan Enriquez: Beyond the Crisis, Mindboggling Science and the Arrival of Homo Evolutis." TED, Feb. 2009.
---. "Pattie Maes & Pranav Mistry: Unveiling The "Sixth Sense," Game-Changing Wearable Tech ": TED, Feb. 2009.
UC-Berkeley. "John Searle - Beyond Dualism." IBM Research's Almaden Institute Conference on Cognitive Computing: Google Video, 2006.
Arduino. 2009. <http://www.arduino.cc/>.
Ashley, David "Las Meninas". 2008. University of Wyoming Website. <http://uwacadweb.uwyo.edu/Ashleywy/las_meninas.htm>.
Dean, Max, Raffaello D'Andrea, and Matt Donovan. "Description of the Robotic Chair". Zurich, 1984 - 2006. roboticchair.com. <http://www.roboticchair.com/description.php>.
Fried, David. "Self Organizing Still-Life (Sos) - Sound Stimulated, Kinetic Interactive Sculptures". Düsseldorf, Germany, 2009. 2009. <http://www.davidfried.com/sculpture_pg1.html>.
Gardeur, Hadrien. "Through the Looking Glass and What Alice Found There [Feedbooks.Com]". Garches (France). XML. (Dec. 08): Feed Books2008. <http://feedbooks.com/book/23>.
Kodama, Sachiko , and Minako Takeno. "Title: Protrude, Flow (2001) Sachiko Kodama + Minako Takeno". 2005. <http://www.fkodama.hc.uec.ac.jp>. <http://www.kodama.hc.uec.ac.jp/project/protrude.html>.
Ortega, Pedro. "Active Electrode Building Guide". Trumpington St., Cambridge, 2004. 2009. <http://www.dcc.uchile.cl/~peortega/ae/>.
Rozin, Daniel. "Mechanical Mirrors". New York, 2005. DANIEL ROZIN INTERACTIVE ART. Wednesday, April-22-09. <http://www.smoothware.com/danny/woodenmirror.html>.
Smith, Josh. "Electric Field Imaging: 'Seeing' by Inverse Electrostatics ". 2003. Massachusetts Institute of Technology Media Lab. <http://web.media.mit.edu/~jrs/efs.html>.
sourceforge.net. "Openeeg Project". April 25, 2009. 2009. <http://openeeg.sourceforge.net/doc/index.html>.
Vinck, Marc de "Hacking the Brain Machine: Alternate Build of the Brain Machine by Mitch Altman". Sep 23, 2008. O'Reilly Media, Inc. <http://blog.makezine.com/archive/2008/09/build_hacking_the_brain_m_1.html>.
(AV material, Conference Proceedings, Dictionary, Patent):
Boys, The Beach. Good Vibrations. 1966.
Burnett, Ron. Dr. Ron Burnett in Thesis Meetings with Morgan Rauscher. Morgan Rauscher, Vancouver 2008-9.
"Electromagnetic Radiation." A Dictionary of Physics. Ed. John Daintith. Oxford: Oxford University Press, 2000. Vol. Oxford Reference Online.
Fleming, W. . Color Enhancing Pin Screen. 22 Oct 2008.
"Light." A Dictionary of Physics. Ed. John Daintith. Oxford: Oxford University Press, 2000. Vol. Oxford Reference Online.
Martin, Elizabeth, and Robert Hine. "Retina." A Dictionary of Biology. 6 ed. Oxford: Oxford University Press, 2008. Vol. Oxford Reference Online.
Mu Sr on Co1-Xpdx, an Alloy Exhibiting Ferromagnetism in the Liquid Phase. 8th International Conference on Muon Spin Rotation, Relaxation and Resonance. Aug 30-Sep 03 1999. Elsevier Science Bv. |
Part Two: Visualizing the Visual Mind with ‘Mind Mirrors’
