TY  - JOUR
AU  - Uspenski, Ivana
AU  - Guga, Jelena
PY  - 2022
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2645
AB  - In the last decades of the 20th century we have seen media theories and cognitive sciences grow, mature and reach their pinnacles by analysing, each from their own disciplinary perspective, two of the same core phenomena: that of media as the environment, transmitter and creator of stimuli, and that of embodied human mind as the stimuli receiver, interpreter, experiencer, and also how both are affected by each other. Even though treating a range of very similar problems and coming to similar conclusions, this still has not brought these two disciplines closer together or resulted in their interdisciplinary approach. They did coalesce in regards to traditional media such as film, but more points of connection are needed for untangling interactive and immersive media environments and their effects on human cognition, action, and perception. With the rise of VR and VR-like systems, especially as they start to evolve into the Metaverse as their main platform of interconnectivity, the tissue of the body becomes almost physically intertwined with that of the virtual surrounding it inhabits through immersion. Simultaneously, the interest in these disciplines arises anew, and especially the need to use their concepts in an interdisciplinary way. This paper’s main interest is to bring these disciplines together in problematising the position of a physical body and its sensory-motor capabilities and their development within synthetic surroundings as Metaverse and anticipate potential downsides of Metaverse’s uncontrolled growth. We will do so also by looking into Metaverse as an artificial-life-like phenomenon, following artificial-life rules and evolving a completely new ‘corporeality’, a body which is completely adapted to virtual spaces. We call this body the Dry Body, an entity sharing cognitive resources with the physical body it is not a physical part of, but has to extend to.
AB  - U poslednjim decenijama 20. veka videli smo kako medijske teorije i kognitivne nauke rastu, sazrevaju i dostižu svoje vrhunce analizirajući, svaki iz svoje disciplinske perspektive, dva srodna osnovna fenomena: medije kao okruženje, prenosioce i kreatore stimulusa i otelovljeni ljudski um u dinamičnoj interakciji sa okruženjem, kao i načine na koje mediji i um utiču na i transformišu jedno drugo. Iako tretiraju čitav niz veoma sličnih problema i dolaze do sličnih zaključaka, to ipak nije dovoljno približilo ove dve discipline niti je rezultiralo njihovim interdisciplinarnim pristupom rešavanju ovih pitanja. Pomak je napravljen kroz kognitivne teorije medija u kojima je fokus uglavnom na tradicionalnim medijskim formama poput filma. Ipak, potrebno je uspostavljanje više tačaka povezivanja za rasplet interaktivnih i imerzivnih medijskih okruženja i njihovih efekata na ljudsku kogniciju, akciju i percepciju. Sa usponom sistema virtuelne realnosti (VR), posebno u trenutku kada počinju da evoluiraju u Metaverzum kao svoju glavnu platformu povezivanja, tkivo tela postaje gotovo fizički isprepleteno sa tkivom virtuelnog okruženja u kom egzistira kroz uranjanje. Istovremeno sa Metaverzumom, iznova se javlja interesovanje za ove dve discipline, a posebno potreba da se njihovi koncepti koriste na interdisciplinaran način. Cilj ovog rada je da spoji ove discipline u problematizaciji položaja fizičkog tela i njegovih senzorno-motoričkih sposobnosti i njihovog razvoja u sintetičkom okruženju kao što je Metaverzum, kao i da predvidi potencijalne negativne strane nekontrolisanog rasta Metaverzuma. Metaverzum ćemo posmatrati kao fenomen veštačkog života, prateći pravila veštačkog života i razvijajući potpuno novu „telesnost“, odnosno telo koje je potpuno prilagođeno virtuelnim prostorima. Ovo telo nazivamo Suvim telom. Ono je entitet koji deli kognitivne resurse sa fizičkim telom čiji nije fizički deo, već se na njega proširuje. Polazimo od premise da svaka nova, inovativna tehnologija u svom razvoju sledi pravila algoritama rasta, što znači da se njeno konačno ‘krajnje stanje’ nikada ne može znati ili predvideti unapred, kao ni promene koje ona donosi u postojeći svet i njegov ekosistem. Što je veća inovacija, to je veći uticaj i promena na stvarni stvarni svet i naša biološka tela u njemu. Metaverzum, kao krajnja tehnička inovacija u oblasti virtuelnosti i manifestacija veštačkog života koji evolutivno prioritizuje „suva tela“, nosi sa sobom značajne i nepredvidive načine na koje se naša biološka tela dalje koriste i razvijaju. Konačno, naglašavamo važnost kontrolisanog, praćenog i doziranog kognitivnog učešća u Metaverse-u, kako bi se uspostavio i sačuvao kognitivni balans između suvih tela i bioloških tela.
PB  - Beograd : Institut za filozofiju i društvenu teoriju
T2  - Filozofija i društvo / Philosophy and Society
T1  - Embodying Metaverse as Artificial Life: At the Intersection of Media and 4E Cognition Theories
T1  - Utelovljenje Metaverzuma kao arificijelnog života: na preseku medijskih i 4E kognitivnih teorija
IS  - 2
VL  - 33
SP  - 326
EP  - 345
DO  - 10.2298/FID2202326U
ER  - 

@article{
author = "Uspenski, Ivana and Guga, Jelena",
year = "2022",
abstract = "In the last decades of the 20th century we have seen media theories and cognitive sciences grow, mature and reach their pinnacles by analysing, each from their own disciplinary perspective, two of the same core phenomena: that of media as the environment, transmitter and creator of stimuli, and that of embodied human mind as the stimuli receiver, interpreter, experiencer, and also how both are affected by each other. Even though treating a range of very similar problems and coming to similar conclusions, this still has not brought these two disciplines closer together or resulted in their interdisciplinary approach. They did coalesce in regards to traditional media such as film, but more points of connection are needed for untangling interactive and immersive media environments and their effects on human cognition, action, and perception. With the rise of VR and VR-like systems, especially as they start to evolve into the Metaverse as their main platform of interconnectivity, the tissue of the body becomes almost physically intertwined with that of the virtual surrounding it inhabits through immersion. Simultaneously, the interest in these disciplines arises anew, and especially the need to use their concepts in an interdisciplinary way. This paper’s main interest is to bring these disciplines together in problematising the position of a physical body and its sensory-motor capabilities and their development within synthetic surroundings as Metaverse and anticipate potential downsides of Metaverse’s uncontrolled growth. We will do so also by looking into Metaverse as an artificial-life-like phenomenon, following artificial-life rules and evolving a completely new ‘corporeality’, a body which is completely adapted to virtual spaces. We call this body the Dry Body, an entity sharing cognitive resources with the physical body it is not a physical part of, but has to extend to., U poslednjim decenijama 20. veka videli smo kako medijske teorije i kognitivne nauke rastu, sazrevaju i dostižu svoje vrhunce analizirajući, svaki iz svoje disciplinske perspektive, dva srodna osnovna fenomena: medije kao okruženje, prenosioce i kreatore stimulusa i otelovljeni ljudski um u dinamičnoj interakciji sa okruženjem, kao i načine na koje mediji i um utiču na i transformišu jedno drugo. Iako tretiraju čitav niz veoma sličnih problema i dolaze do sličnih zaključaka, to ipak nije dovoljno približilo ove dve discipline niti je rezultiralo njihovim interdisciplinarnim pristupom rešavanju ovih pitanja. Pomak je napravljen kroz kognitivne teorije medija u kojima je fokus uglavnom na tradicionalnim medijskim formama poput filma. Ipak, potrebno je uspostavljanje više tačaka povezivanja za rasplet interaktivnih i imerzivnih medijskih okruženja i njihovih efekata na ljudsku kogniciju, akciju i percepciju. Sa usponom sistema virtuelne realnosti (VR), posebno u trenutku kada počinju da evoluiraju u Metaverzum kao svoju glavnu platformu povezivanja, tkivo tela postaje gotovo fizički isprepleteno sa tkivom virtuelnog okruženja u kom egzistira kroz uranjanje. Istovremeno sa Metaverzumom, iznova se javlja interesovanje za ove dve discipline, a posebno potreba da se njihovi koncepti koriste na interdisciplinaran način. Cilj ovog rada je da spoji ove discipline u problematizaciji položaja fizičkog tela i njegovih senzorno-motoričkih sposobnosti i njihovog razvoja u sintetičkom okruženju kao što je Metaverzum, kao i da predvidi potencijalne negativne strane nekontrolisanog rasta Metaverzuma. Metaverzum ćemo posmatrati kao fenomen veštačkog života, prateći pravila veštačkog života i razvijajući potpuno novu „telesnost“, odnosno telo koje je potpuno prilagođeno virtuelnim prostorima. Ovo telo nazivamo Suvim telom. Ono je entitet koji deli kognitivne resurse sa fizičkim telom čiji nije fizički deo, već se na njega proširuje. Polazimo od premise da svaka nova, inovativna tehnologija u svom razvoju sledi pravila algoritama rasta, što znači da se njeno konačno ‘krajnje stanje’ nikada ne može znati ili predvideti unapred, kao ni promene koje ona donosi u postojeći svet i njegov ekosistem. Što je veća inovacija, to je veći uticaj i promena na stvarni stvarni svet i naša biološka tela u njemu. Metaverzum, kao krajnja tehnička inovacija u oblasti virtuelnosti i manifestacija veštačkog života koji evolutivno prioritizuje „suva tela“, nosi sa sobom značajne i nepredvidive načine na koje se naša biološka tela dalje koriste i razvijaju. Konačno, naglašavamo važnost kontrolisanog, praćenog i doziranog kognitivnog učešća u Metaverse-u, kako bi se uspostavio i sačuvao kognitivni balans između suvih tela i bioloških tela.",
publisher = "Beograd : Institut za filozofiju i društvenu teoriju",
journal = "Filozofija i društvo / Philosophy and Society",
title = "Embodying Metaverse as Artificial Life: At the Intersection of Media and 4E Cognition Theories, Utelovljenje Metaverzuma kao arificijelnog života: na preseku medijskih i 4E kognitivnih teorija",
number = "2",
volume = "33",
pages = "326-345",
doi = "10.2298/FID2202326U"
}

Uspenski, I.,& Guga, J.. (2022). Embodying Metaverse as Artificial Life: At the Intersection of Media and 4E Cognition Theories. in Filozofija i društvo / Philosophy and Society
Beograd : Institut za filozofiju i društvenu teoriju., 33(2), 326-345.
https://doi.org/10.2298/FID2202326U

Uspenski I, Guga J. Embodying Metaverse as Artificial Life: At the Intersection of Media and 4E Cognition Theories. in Filozofija i društvo / Philosophy and Society. 2022;33(2):326-345.
doi:10.2298/FID2202326U .

Uspenski, Ivana, Guga, Jelena, "Embodying Metaverse as Artificial Life: At the Intersection of Media and 4E Cognition Theories" in Filozofija i društvo / Philosophy and Society, 33, no. 2 (2022):326-345,
https://doi.org/10.2298/FID2202326U . .

TY  - GEN
AU  - Guga, Jelena
AU  - Uspenski, Ivana
PY  - 2016
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3277
AB  - Although Neuroart is related to the concept of Neuroaesthetics (S. Zeki), which is based on a
scientific approach to aesthetic perception of art, and to the concepts of Neuroplastic arts (G.
Novakovic) and Neuromedia (J. Scott) endorsing collaboration between artists and neuroscientists,
it is at the same time distinct from them. We are using the term literally to refer to those artworks
that are based on neural / brain waves signals and the use of brain-computer interfaces (BCI) or
more specifically, EEG headsets in the production and display of artworks. We focus on EEG-based
sound art, visual arts, interactive installations, and performance arts, and we identify Neuroart as a
novel, emerging form or sub-genre of new media art.
However, we do not limit Neuroart to human-generated artworks only. Given that Neuroart applies
to detection or inspection of neural electric signals, we claim that the electric nature of those signals
also applies to processes inherent in machine processing or neural computing such as Google Deep
Dream and other generic platforms that lay the foundations for computer and/or AI generated art
forms including database art, software art, visualization art, sonification art as well as those artworks
that result in material artifacts presented in traditional exhibition format.
We additionally claim that regardless whether the artworks of Neuroart are driven by a human or
machine, they can have the same aesthetic discursive value, but within a context of a newly defined
discipline of aesthetics that is Procedural Aesthetics. The Procedural Aesthetics (or the aesthetics of
signal), can be understood as the discursiveness of the very process of signals (intensities) emission
before they enter the sphere of conscious cognition. It is a pre-receptive and pre-semantics
phenomenon. It deals with the processes otherwise not available to human perceptive apparatus,
trying to reveal them, unmask them, by offering them to interpretation as cultural artifacts. And in
order to do this, it relies heavily on technology and technical equipment allowing us the access
to these ‘invisible’ processes through visualization, sonification, textualization, mapping and other
forms of interpretable representations displayed as artworks.
PB  - Belgrade : STRAND - Sustainable Urban Society Association
T2  - Going Digital: Innovations in Art, Architecture, Science and Technology – Book of Abstracts
T1  - Procedural Aesthetics and the Emergence of NeuroArt
SP  - 40
EP  - 41
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3277
ER  - 

@misc{
author = "Guga, Jelena and Uspenski, Ivana",
year = "2016",
abstract = "Although Neuroart is related to the concept of Neuroaesthetics (S. Zeki), which is based on a
scientific approach to aesthetic perception of art, and to the concepts of Neuroplastic arts (G.
Novakovic) and Neuromedia (J. Scott) endorsing collaboration between artists and neuroscientists,
it is at the same time distinct from them. We are using the term literally to refer to those artworks
that are based on neural / brain waves signals and the use of brain-computer interfaces (BCI) or
more specifically, EEG headsets in the production and display of artworks. We focus on EEG-based
sound art, visual arts, interactive installations, and performance arts, and we identify Neuroart as a
novel, emerging form or sub-genre of new media art.
However, we do not limit Neuroart to human-generated artworks only. Given that Neuroart applies
to detection or inspection of neural electric signals, we claim that the electric nature of those signals
also applies to processes inherent in machine processing or neural computing such as Google Deep
Dream and other generic platforms that lay the foundations for computer and/or AI generated art
forms including database art, software art, visualization art, sonification art as well as those artworks
that result in material artifacts presented in traditional exhibition format.
We additionally claim that regardless whether the artworks of Neuroart are driven by a human or
machine, they can have the same aesthetic discursive value, but within a context of a newly defined
discipline of aesthetics that is Procedural Aesthetics. The Procedural Aesthetics (or the aesthetics of
signal), can be understood as the discursiveness of the very process of signals (intensities) emission
before they enter the sphere of conscious cognition. It is a pre-receptive and pre-semantics
phenomenon. It deals with the processes otherwise not available to human perceptive apparatus,
trying to reveal them, unmask them, by offering them to interpretation as cultural artifacts. And in
order to do this, it relies heavily on technology and technical equipment allowing us the access
to these ‘invisible’ processes through visualization, sonification, textualization, mapping and other
forms of interpretable representations displayed as artworks.",
publisher = "Belgrade : STRAND - Sustainable Urban Society Association",
journal = "Going Digital: Innovations in Art, Architecture, Science and Technology – Book of Abstracts",
title = "Procedural Aesthetics and the Emergence of NeuroArt",
pages = "40-41",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3277"
}

Guga, J.,& Uspenski, I.. (2016). Procedural Aesthetics and the Emergence of NeuroArt. in Going Digital: Innovations in Art, Architecture, Science and Technology – Book of Abstracts
Belgrade : STRAND - Sustainable Urban Society Association., 40-41.
https://hdl.handle.net/21.15107/rcub_rifdt_3277

Guga J, Uspenski I. Procedural Aesthetics and the Emergence of NeuroArt. in Going Digital: Innovations in Art, Architecture, Science and Technology – Book of Abstracts. 2016;:40-41.
https://hdl.handle.net/21.15107/rcub_rifdt_3277 .

Guga, Jelena, Uspenski, Ivana, "Procedural Aesthetics and the Emergence of NeuroArt" in Going Digital: Innovations in Art, Architecture, Science and Technology – Book of Abstracts (2016):40-41,
https://hdl.handle.net/21.15107/rcub_rifdt_3277 .