Posthuman Factors.pdf

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POSTHUMAN FACTORS
How Perceptual Robotic Art Will Save Humanity from Extinction
by Haakon Faste
A dissertation submitted in partial fulfillment of the requirements
for the degree of Doctor in Philosophy in Innovative Technologies
of Information and Communication Engineering and Robotics
Scuola Superiore Sant’Anna, Pisa, Italy
January 2010
_________________________________
Haakon Faste
Candidate
_________________________________
Massimo Bergamasco
Advisor
© Haakon Faste 2010
Printed in Italy
Contents
Acknowledgements
Introduction: Irrational Theories of Pure Mind
1. Towards Posthumanity
1.1. Surviving the Posthuman Transition
1.2. Stragmatics
1.3. Stragmatics and Postmodernism
1.4. The Stragmatics of Art
2.1. Virtual Interfaces and Posthuman Bodies
2.2. Mediation
2.3. Posthuman Identity
2.4. The Abolition of Identity
3.1. Technologies of Sense
3.2. Inhabiting Nonsense
3.3. Transient Values
3.4. Deautomatizing Experience through Transient Reality Systems
4.1. Evaluating the Potential of Posthuman Systems
4.2. Technoculture as Language
4.3. Semantics of Change
4.4. Context, Potential, and The Invisible Mind
5.1. Empirical Search
5.2. Curatorial Stragmatics and the Cognitive Laboratory
5.3. The Technocultural Condition
5.4. The Stragmatic Design of Posthuman Perception
6.1. Cybersynthesis of Pure Mind and Posthuman Places
6.2. The Lines of Legitimate Posthuman Stragmatics
6.3. The Biopolitical Curation of Form Without Content
6.4. The Engineering of Everything
i
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15
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37
41
48
57
69
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82
90
2. The Posthuman Interface
33
3. Making Sense
65
4. Technocultural Consciousness
101
102
107
116
127
139
143
151
163
174
180
190
196
5. Posthuman Centered Design
137
6. Emulating Aliens
171
References
203
Acknowledgements
This dissertation would not have been possible without the support and encouragement of professor
Massimo Bergamasco, my advisor at the PERCRO Perceptual Robotics Laboratory, Scuola Superi-
ore Sant’Anna. Thank you for your patience and friendship. Thanks also to the numerous colleagues
with whom I have had the pleasure of collaborating during my time in Italy. Those to whom I owe a
particular debt include, in a somewhat chronological order, Franco Tecchia, Carlo Alberto Avizza-
no, Antonio Frisoli, Fiammetta Ghedini, Marcello Carrozzino, Elisabetta Sani, Emanuele Ruffaldi,
Otniel Portillo-Rodriguez, Oscar Sandoval-González, Elvira Todaro, Walter Aprile, Paolo Tripic-
chio, Davide Vercelli, Giuseppe Marino, Paolo Gasparello, Andreea Bizdideanu, Fabio Rossi, Ales-
sandra Scucces, Chiara Evangelista, Rosario Leonardi, Silvia Pabon, Eduardo Sotgiu and Marina
Vela Nuñez. Thanks also to Federico Vanni, Ilaria Polvani, Francesca Farinelli and Emanuele Giorgi
for their support within PERCRO, and to Laura Bevacqua at the Scuola Superiore Sant’Anna for
her tremendous assistance navigating the fascinating bureaucracy of higher education in Italy.
Many individuals from the academic community have provided feedback that deserves rec-
ognition, at conferences and workshops both in Italy and internationally. For a wonderful visit to
ICHIM07 in Toronto, thanks to Sara Diamond, David Bearman, and Jennifer Trant. For accompa-
niment while visiting, thanks to Tullio Salmon Cinotti and Leonard Steinbach. Thanks to Bill Vorn
for visiting our laboratory in Italy, and Fiammetta, again, for making it happen. For a well-spent rainy
day in Pisa discussing electronic music, thanks to Marcelo Wanderley and Leonello Tarabella. For an
enlightening conversation at Enactive08, and virtual assistance afterwards, thanks to Rachel Zahn.
Thanks to Pier Luigi Capucci for his dedication to Italian new media art and his involvement as
chair of the XXV Oscar Signorini Prize for Robotic Art, and subsequently to everyone at
Fondazione
D’Ars
in Milan for their help, in particular Grazia Chiesa, Martina Coletti and Cristina Trivellin. Ian

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