Technoetic Arts

@technoeticarts.bsky.social

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Journal of Speculative Research

Cover of Technoetic Arts journal, Volume 23 Number 2, published by Intellect Journals (ISSN 1477-965X). The cover image shows an installation view of 'Revivification' (2025) by Guy Ben-Ary, Nathan Thompson, Stuart Hodgetts and Matt Gingold, photographed by Rebecca Mansell, courtesy of the Art Gallery of Western Australia. The work fills a darkened gallery space with rows of illuminated golden circular forms mounted on black walls receding into the distance, with a geometric textile or printed element placed on the floor in the foreground.
Cover of Technoetic Arts 23.1 showing back and front. The front shows an image in red with a drawn fragment of an embryo. The back lists the authors and articles: DALILA HONORATO Editorial: On the Importance of Transgression in Academic Outcomes | HEGE TAPIO How Does One Synthetically Produce Love? | JORDAN KOKOT Overcoming Life: Neuralink, Cyborgs and the (An)Aesthetics of Cure | CLAUDIO DE MELO FILHO Decentralizing Hegemonic Knowledge in Art Practices | LYN HAGAN Containment | GREGORIO TENTI Art and Mutation on a Postnatural Planet | YOSAKU MATSUTANI Art as Decomposition: Soichiro Mihara’s Making Soil | EBRU YETISKIN Political Ecology Imaginaries and Possible Futures in Turkey.
Cover of Technoetic Arts 23.1 showing back and front. The front shows an image in red with a drawn fragment of an embryo. The back lists the authors and articles: DALILA HONORATO Editorial: On the Importance of Transgression in Academic Outcomes | HEGE TAPIO How Does One Synthetically Produce Love? | JORDAN KOKOT Overcoming Life: Neuralink, Cyborgs and the (An)Aesthetics of Cure | CLAUDIO DE MELO FILHO Decentralizing Hegemonic Knowledge in Art Practices | LYN HAGAN Containment | GREGORIO TENTI Art and Mutation on a Postnatural Planet | YOSAKU MATSUTANI Art as Decomposition: Soichiro Mihara’s Making Soil | EBRU YETISKIN Political Ecology Imaginaries and Possible Futures in Turkey.
A hand-drawn notebook sketch by Dulmini Perera from 2023 titled "Cybernetics and a Fishtank." The artwork depicts a complex, layered composition centered around an aquarium or fishtank viewed by two figures with glasses. The main aquarium scene shows underwater life with fish and coral, while one observer notes it "reminds me of the sun rising over a reef in the South Pacific." The drawing incorporates various conceptual elements including references to "Early Years of Cold War," "Perry St. New York," and connects to themes of cybernetics, systems thinking, and ecological observation. Around the central fishtank image are circular diagrams and annotations referencing concepts like "escalating positive feedback," "schismogenesis," and locations including "Iatmul New Guinea." The sketch appears to visualize interconnected systems and cybernetic principles through the metaphor of observing an aquatic ecosystem. The drawing style is informal and exploratory, typical of academic note-taking and conceptual mapping, reflecting the interdisciplinary nature of cybernetic thinking that connects anthropology, ecology, and systems theory.
The image shows the 2024 academic journal performance report for the journal Technoetic Arts with two main sections. At the top is a Scopus CiteScore trend chart displaying data from 2020-2024, with blue bars showing CiteScore values rising from approximately 0.3 in 2020 to 0.9 in 2024, and a red line indicating percentile rankings reaching 83% by 2024, marked as "Q1 Visual and Performing Arts." Below this is a Clarivate Journal Citation Reports section showing "Q1" status in purple, with the category listed as "HUMANITIES, MULTIDISCIPLINARY" ranked 82/408. The background shows academic books, suggesting a scholarly research context. Both metrics demonstrate the journal's achievement of Q1 quartile rankings in their respective indexing systems.
The image shows the front cover of Technoetic Arts journal, Volume 22 Number 2, a special issue titled 'Into/Across the Sea'. It features a high-quality photograph of deep blue ocean waves in gentle motion against a white background. The journal title appears in black text above the image, with a light blue circular badge indicating the special issue theme 'Into/Across the Sea'. Published by Intellect journals, ISSN 1477-965X.
The image shows the front and back covers of Technoetic Arts journal, Volume 22 Number 2, a special issue titled 'Into/Across the Sea'. The back cover (left) features a light blue background with a detailed table of contents including: Editorial (151-154): 'Into/Across the sea: Critical perspectives in media arts' by Bill Psarras Articles: 'Open seas, open systems' by Susan Collins (155-166) 'Becoming Sea-swallowed: Sarah Cameron Sunde's 36.5 / A Durational Performance with the Sea' by Raegan Truax and Sarah Cameron Sunde (167-182) 'The Constitution of the Sea: New boundaries and identity through watery, transdisciplinary artistic practice' by Kat Austen (183-196) 'Exploring watery sonic imaginaries in the age of the Aquatocene' by Robertina Šebjanič (197-208) Multiple other sea-themed articles extending to page 281 Index on page 285 The front cover (right) features a high-quality photograph of deep blue ocean waves in gentle motion against a white background. The journal title appears in black text above the image, with a light blue circular badge indicating the special issue theme 'Into/Across the Sea'. Published by Intellect journals, ISSN 1477-965X.
This image shows an interaction between what appears to be two figures - one is a pale, white virtual avatar displayed on a screen or projection, and the other is a silhouetted person in black standing in front of it. The person's silhouette shows them extending their arm in a gesture toward the avatar, appearing to be engaged in some form of interactive performance or therapeutic session. The image represents Semi Ryu's work with embodied avatar performance (EAP), which explores healing rituals using virtual reality. The composition shows the "mirroring" concept mentioned in the description, as both figures seem to be engaged in a form of synchronized movement or interaction. The word "treee" is visible at the bottom of the projected display. The high contrast between the bright, ethereal avatar and the dark silhouette of the human participant creates a striking visual representation of the human-avatar interaction that Ryu's work investigates. The image was taken in 2016 and is credited as "VoicingElder" courtesy of Semi Ryu. This visual documentation appears to capture a moment of what the accompanying text describes as the "symbiosis between humans and avatars" through mirroring techniques, which is used in therapeutic contexts including work with cancer patients.
This image is a black and white photograph of a dense forest, featuring tall coniferous trees. The trees have thick, straight trunks and create a deep perspective into the forest. There are rocks or boulders scattered along the forest floor, and the ground appears to be covered in moss or other forest vegetation. Overlaid on the image is white text that reads "Re-embrace complexity." The image is credited as "Taming the Forest, 2022" and is noted as being a still from a video, courtesy of the University of Nova Gorica. The composition has a moody, atmospheric quality typical of black and white forest photography, with strong vertical lines created by the tree trunks and interesting interplay between light and shadow filtering through the canopy. The juxtaposition of the philosophical text about embracing complexity against the intricate natural setting of the forest creates an interesting conceptual relationship.
A close-up photograph of an artistic laboratory installation. The image shows circular petri dishes illuminated from above by specialized lighting equipment. The dishes appear to contain various cultures or organic materials, with one dish showing a crystalline or fungal formation glowing with a whitish-yellow hue. The setup includes metallic mounting hardware and support rails, giving it an industrial, scientific aesthetic. Shot from above at an angle, the image captures both the technical precision of the equipment and the organic nature of the specimens. Photo credit: Marte Vos, artwork by Saša Spačal.
Poster announcing the 2025 TTT conference in Ljubljana. Whie and yellow writing on black ground. TTT Taboo Transgression Transcendence in art & science, September 9-13, 2025, Kino Siska, Ljubjana. Deadline for proposals: December 31, 2024.
Dulmini Perera, universes of Explanation, 2024. Notebook sketch. Courtesy of author. Published in Perera, Dulmini (2024), ‘Orders of change: Mary Catherine Bateson on ecological thinking, narrative practices and attending to worlds in transformation’, Technoetic Arts: A Journal of Speculative Research, 22:1, pp. 9–24, https://doi.org/10.1386/tear_00119_1