Neuromatic Game Art – artistic reflexive documentation of a research question…. With the artistic mission statement on the Project Neuromatic Game Art — Critical Play with Neurointerfaces, we are part of the 2020 edition of the Forum Alpbach Showcase of Die Angewandte Vienna, selected artistic research projects. Thanks for this opportunity! August 2020: Forum Alpbach, Digital Showcase artistic research, Die Angewandte
This papers is published in the ZHdK Book: DDE Publikation – Franke Björn (ed.) 2020: Not at Your Service: Manifestos for Design, Zurich. (English und Deutsch in einem pdf).
The Art of Play and Societal Impact is introduced in this manifesto as a tool for commenting on and intervening in social and political questions and the challenges of climate change. The design of play objects has an impact on everyday life in society, simply through the presence and daily use of play in relation to our social life and behaviour, has an impact on our daily lives. The impact factor of ludic objects is not measured, but present in discursive reflections in the field of artistic research.
The ludic as a method for rule-driven design elucidates states of play, combines free play, games and rules of play. Conceptual ludic art explores rules of play, systems of investigation and knowledge acquisition through game mechanics, as well as the fundamentals of perception, experience and cognition. The theory and practice of artistic research are concerned with ludic methods of approaching art and science, and epistemic things as insights achieved through arts objects as research vehicles.
Ludic objects are artefacts that trigger discourse and the application of certain rules of research. They constitute an interplay of art and knowledge. Finally, ludic, experimental research games are tied to a certain playful approach toward serious, rule-driven research. Following a ludic method introduces a new trope to artistic research.
Speculative games provide an element of role play, and use performance elements in order to understand the role of the artist, the researcher and the designer. The ludic objective is the idea of playful movement in thinking. It is informed by technologies and cultural techniques of insight, as well as theories, experiments and philosophical conceptions that are connected to the perceived, conceived and lived world.
NEWly found footage: TnX dear friend! Unseen and unpublished videos of the 2020 AIL live performance of different emotional states (Thomas Wagensommerer Sound patch, Stefan Glasauer live data from emotional states, Margarete Performance on examination couch and game mechanics) classified by an Deep Dream AI – “I want to see HAPPY monkeys” ! Tnx to Eva Fischer for the opportunity to show at the Post Digital exhibition… and perform according to Ludic ruleZ!
Ein künstliches neuronales Netz wird als abstrakte Oberfläche / GUI auf Bildschirm 1 visualisiert. Die Spieler*innen liegen auf einer Untersuchungsliege. Das Spiel ist passiv; hebelt Game Mechaniken aus: es genügt zu liegen und zu lächeln – oder nicht! Bildschirm 2: Glücklichkeits-Faktor. In dem Moment, in dem das Grinsen schwindet, weil man erkennt, dass man klassifiziert wird, sinkt der Glücklichkeits-Faktor. Bildschirm 3: Alle erfassten Gesichter werden von der AI so gezeigt, wie sie trainiert wurden: mit Geschlecht und tierischer Voreingenommenheit, ein verzerrter tiefer Traum – als glückliches Äffchen! Die Künstler*innen hinter dem Spiel sind Margarete Jahrmann und Stefan Glasauer.
//25 May 2020: In her work, the internationally renowned media artist and art theorist, who has been Professor of Artistic Research at the University of Applied Arts Vienna since 2019, uses code, language and fashion for media art works and games in urban space.
//25. Mai 2020: Die international anerkannte Medienkünstlerin und Kunsttheoretikerin, die seit 2019 Professorin für Artistic Research an der Universität für Angewandte Kunst Wien ist, setzt in ihrem Werk Code, Sprache und Mode für medienkünstlerische Arbeiten und Spiele im urbanen Raum ein.
Including a demonstration of the #NEUROMATIC BRAINWAVE BROADCAST series, performed ongoing since 3rd April 2020 & Pre_launch of the activist brainwave inversion game#01: NeuroFLOWer…
With members of the Neuromatic research group Vienna/Zurich and guests: Margarete Jahrmann (game art), Ruth Schnell (digital arts), Stefan Glasauer (computational neuroscience), Mark Coeckelbergh (technophilosopy), Johannes Hucek (digital art),Stefan Schmidlin/ Simon Broggi/ Insert Coin Zurich (game design), Charlotta Ruth (artistic research choreography), Thomas Wagensommerer (brainwave sonification), Anna Dobrosovestnova (device philosophy), Zarko Alexsic (neuro art), et al.
special guest: Isabelle Garzorz (experimental neuroscience).
APAJahrmann, M. (2020, April 14). Neurointerfaces as means of Artistic Research or Expanded Game Art. https://doi.org/10.31235/osf.io/qn65kMLA Jahrmann, Margarete. “Neurointerfaces as Means of Artistic Research or Expanded Game Art.” SocArXiv, 14 Apr. 2020. Web.
Article in print:
Neurocontrollers of games are new consumer interfaces to the inner self, if we consider that they unfold as factual neuro-interfaces that evaluate our personal data and general human condition. Biometric data is gained in everyday life by mobile phones or health wristbands. The ethical dimension of the use of neuro interfaces is hardly questioned, neither in research nor in its artistic applications, which is surprising but a necessity for the self-determined user who is more than an object of produsage. In the centre of this inquiry stand very actual critical art works with life science devices and its corresponding participative games, in an emerging critical art form of neuro-games, in a new form of expanded game art. Brain interfaces for the consumer market target life improvement but in fact they capitalise our inner states in a mode of prosumption.
Expanded game art settings in public installations can fruitfully contribute to the sciences with the advantage of a controllable set of rules, which is useful for the research validity. These art pieces correspond to citizen science games, where scientists use games to analyse data in a collective mode. On the other hand, biometric aspects and neuro-interfaces used in performative installations allow to design a new kind of game art, made of elements of behavioural research and a critical questioning of the interfaces used in play. This argument is elaborated in a series of examples from neurosciences and expanded art games.