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self-realisation, born both out of his development of and identification with the philosophical ideals of deep ecology and his evolving engagements with the world

deep ecology’ Arne Naess

my ecosophical praxis is deeply engaged with the possibilities and qualities of conversational communication that either already do, or could feasibly exist, between forms of systemically located life, matter and technologically created forms.

I aim to create discursive, artistic experiences inspired and focused by the possibility of metaphysical shifts in our understandings of place and role within dynamic, interlocking systems

rewards participants with a willingness to collaborate, based upon an understanding of their own place and role within a series of complex, shifting relationships

I resolved that my contribution should be to deploy the interactive, connective, popular aspects of networked new media arts to create contexts for conversation around these pressing ecological issues. This would be best achieved through a located, engaged praxis that avoided didacticism

pursue processes of ecosophical questioning around form, approach, modality and content

We resolved that physical movement would be central to the experience and that its effects would ripple through to affect all computational and experiential aspects. The two physical interfaces and their supporting environments should also have a strong physical presence, while not strongly detracting from the experience of the participants once engaged with the work.

personal, performative experience in which both participants become woven within its systemic operations and immersed within multiple processes of dialogue, exchange and transfer

focus upon the connection-making and communicative features that these tools offered

the power of choreography within the design of interactive systems, interfaces and virtual characterization

‘Me’, ‘Us’ and ‘Other’:

that bit the participant identifies as themself

for most people on the planet…is other people like me!

s that stuff which is not like me, that stuff that is really other to me that I have no connection to

containment/compactness

as personal/close/spatially familiar, moving towards distant/unfamiliar and spatially abstracted

he work used a single participant’s bodily expression as the means for invoking and exploring mediatised relationships that were at times comforting and personal, but that could quickly shift to moments of great intensity and agitation.

A key issue was the lack of agency experienced by some participants who were unable to easily locate themselves within the experience and thus comprehend how their bodily actions related to changes within the work’s image, text and sound. The consensus was that a direct, controllable representation of their presence within the work would make navigating the experience much easier.

multi-player game engine, which typically used avatars to represent the participants’ positions and activities, working in dialogue with other characters.

underlying relational model for the work that would inherently encompass core aspects of ecologies, such as evolution, emergence and the exchange and transfer of objects/forms between two or more parties.

sense of presence between participants that we were seeking as being ‘about ways that affective (qualitative, emergent) dimensions arise, move through and translate across different media, moments and spaces’

Conceptually it would reinterpret the ‘Me/Us/Others’ idea whilst continuing to operate around ideas of energetic transfer and the performative role of the body.

The work would attempt to also encourage a sense of increasing intimacy between participants and be welcoming and accessible to participants of different ages, cultures and body shapes.