<Future::Invisible::Tripping::Machine // Subtripping>

transLAB/MAT/UCSB

Marcos Novak, Director

http://translab.mat.ucsb.edu/

<Future::Invisible::Tripping::Machine // Subtripping>  proposes an open, tolerant, combinatorial, and creative stance toward encounters with the unknown. In this version, explores low-frequency haptic feedback via Supbacs. 

To begin with, two notions are brought together: “future tripping” and “invisible machine." 

From their collision, two new notions are generated: “future invisible” and “tripping machine.” 

The first, “Future Invisible”, alludes to an ancient saying by the sophist Isocrates (to whom much of the model of paideia is credited): 

“Μηδενὶ συμφορὰν ὀνειδίσῃς· κοινὴ γὰρ ἡ τύχη καὶ τὸ μέλλον ἀόρατον”

in English: 

“Taunt no one’s misfortune; for to all fortune is common and the future invisible”

The second, “Tripping Machine”, alludes to Paul Klee's painting “Twittering Machine”, and to the impinging of the artificial on nature. But, whereas tripping might be construed as negative, the impulse here is to choose to see that-which-trips as providing an opportunity to solve, not forget, the problems that arise when worlds collide. 

”Twittering Machine”, in turn, directs attention to Paul Klee’s “Pedagogical Sketchbook,” which contains a wealth of ideas for how to make anything, including worlds, by balancing and reconciling forces inherent in the field of their encounter.

These two notions, one ancient, one modern, collide/collude with worldmaking and social VR and transvergence and all the ideas we are exploring in the present and are anticipating for our future.

Other combinations are possible. All are welcome. Writing “future: invisible: tripping: machine:” explodes all the components, making all available for recombination, pointing to the openness to these other combinatorial possibilities, and to any that arise as the work/world progresses. 

Notably, “tripping” now leans into “twittering” — a notion of travel is maintained, but the fear of falling/failing is replaced by hopeful birdsong.

Embodiment follows: these words are not idle, they are enacted. They become instructions to a form of worldmaking that takes its cues from the rainforest or the coral reef or the living city. A group of transvergent worldmakers build in parallel, with no initial plan other than the establishment of a sustainable ecosystem within which diversity can thrive. Intentions collide and are resolved as opportunities. Step by step, one teetering/twittering trip at a time, beauty emerges from ever-unfolding balance.

transLAB Team: 

 

Mengyu Chen

Alexis Crawshaw

Cindy Kang

Anshul Pendse

Gustavo Rincon

Ehsan Sayyad

Mert Toka

Nathan Weitzner

Tim  Wood

Jing Yan

Zhenyu Yang

Yin Yu

Weidi Zhang

 

Aaron Anderson

Enrica Costello

Diarmid Flatley

You-Jin Kim

Abhijit Kulkarni

Weihao Qiu

Greg Reardon

transLAB bio:

Working at the frontier of XR (VR, AR, MR, and any other manner of the encounter of virtuality with actuality), the transLAB explores <worldmaking: in fact, in fiction, in action>. Employing the the notion of Transvergence, understood as “transformation that leads to speciation,” it seeks to understand and create mediated worlds through the <holistic, integrative, creative> lens of the THEMAS Model (<Technologies, Humanities, Engineering, Mathematics, Arts, Sciences>:  the superset of STEM and STEAM approaches with Design, Architecture and Music, Media Arts, and the creative Digital Humanities).

 

“Mediated Worlds” examines how technologies and humanities (means and ends), engineering and mathematics (concrete and abstract), and arts and sciences (synthesis and analysis) inform all aspects of how we come to know and make the world.

Touching upon themes ranging from media arts and digital humanities to virtual reality and future cinema, from generative systems and the poetics of new technologies to non-Euclidean geometries and n-dimensional spacetime, from liquid architectures and new music to pattern formation and algorithmic aesthetics, from artificial life and machine learning to soft robotics and bioengineering, from world mythologies and ancient philosophies to cognitive psychology and neuroscience, from thermodynamics and symmetry operations to genomics and new materials, from quantum entanglement and live performance to synthetic ecologies and the Anthropocene, this course presents an interconnected model of knowledge, learning, creative discovery, and 21st century citizenship.