Center for Complex Systems Research

CCSR Technical Reports
For a download of the listed papers CLICK HERE.
CCSR-88-01 Scaling Relationships in Back-propagation Learning: Dependence on Predicate Order, Gerald Tesauro, Robert Janssens, Feb 19,1988
CCSR-88-02 A Parallel Network that Learns to Play Backgammon, Gerald Tesauro, Terrence J. Sejowski, Feb 22, 1988
CCSR-88-03 Fast Texture Recognition Using Information Trees, Darrel R. Hougen, Stephen M. Omohundro, Feb 22, 1988
CCSR-88-04 MURPHY: A Robot that Learns by Doing, Bartlett W. Mel, Mar 1, 1988
CCSR-88-05 Adaptation Toward the Edge of Chaos, Norman H. Packard, in Dynamic Patterns in Complex Systems, (J.A.S. Kelso, A.J. Mandell, M.F. Shlesinger eds.; World Scientific) p. 293-301 (1988)
CCSR-88-06 Neural Network Defeats Creator in Backgammon Match, G. Tesauro
CCSR-88-07 Asymptomatic Convergence of Back-propagation in Single-layer Networks, Gerald Tesauro, Yu He, Aug 3, 1988
CCSR-88-08 A Learning Algorithm for Modeling Complex Spatial Dynamics, Thomas P. Meyer, Fred. C. Richards, Norman H. Packard, Sept 26, 1988
CCSR-88-09 Spatial Spectra of Cellular Automata, Wentian Li, Jan 1987, rev. Nov 13, 1988
CCSR-88-10 Context-free Languages Can Give 1/f Spectra, Wentian Li, Oct 24, 1988
CCSR-88-11 Intrinsic Adaptation in a Simple Model of Evolution, Norman H. Packard, July 18, 1988, in Artificial Life, ed. C. Langton, Addison-Wesley (1989)
CCSR-88-12 Dynamics of Development: A Simple Model for Dynmaics away from Attractors, Norman H. Packard
CCSR-88-13 A Study of Scaling and Generalization in Neural Networks, Subutai Ahmad, Sept 1988
CCSR-88-14 Efficient Algorithms with Neural Network Behavior, Stephen M. Omohundro, April 20, 1987
CCSR-88-15 Pretty Pictures Generated by Two-state Five-neighbor Cellular Automata, Wentian Li, Nov 15, 1988
CCSR-88-16 Machine Learning as a Tool for Analysis in Social Systems, Subutai Ahmad, Dec 12 , 1988
CCSR-89-01 Mutual Information Functions Versus Correlation Functions, Wentian Li, July 14, 1989
CCSR-89-02 Time Evolution of Local Complexity Measures and Aperiodic Perturbations of Nonlinear Dynamical Systems , Gottfried Meyer-Kress, Alfred Hübler, June 21, 1989. In Measures of Complexity and Chaos , N.B.Abraham (ed.), Plenum Press, New York, 1989
CCSR-89-03 Characterization of Complex Systems by Aperiodic Driving Forces , Daniel Bensen, Michael Welge, Alfred Hübler, Norman Packard, June 221, 1989. In Measures of Complexity and Chaos , N.B.Abraham (ed.), Plenum Press, New York, 1989
CCSR-89-04 Reduction of Complexity by Optimal Driving Forces , Tom Meyer, Alfred Hübler, Norman Packard, June 21, 1989. In Measures of Complexity and Chaos , N.B. Abraham (ed.), Plenum Press, New York, 1989
CCSR-89-05 Universal Properties of the Resonance Curve of Complex Systems, Kenneth Chang, Alfred Hübler, Norman Packard, June 21, 1989. In Measures of Complexity and Chaos, N.B. Abraham (ed.), Plenum Press, New York, 1989
CCSR-89-06 Scaling Behavior of the Maximum Energy Exchange Between Coupled Anharmonic Oscillators, T. Eisenhammer, A. Hübler, T. Geisel, E. Lüscher, June 28, 1989, Phys.Rev.A 41, 3332-3342 (1990)
CCSR-89-07 Modeling Experimental Time Series with Ordinary Differential Equations, T. Eisenhammer, A, Hübler, N. Packard, J.A.S. Kelso, Aug 16, 1989. Biol. Cybern, 65, 107-112 (1991)
CCSR-89-08 The Structure of the Elementary Cellular Automata Rule Space, Wentian Li, Norman Packard, Sept 6, 1989
CCSR-89-09 Problems in Complex Systems, Wentian Li, (thesis)
CCSR-89-10 A Genetic Learning Algorithm for the Analysis of Complex Data, Norman H. Packard, July 1989, Complex Systmes 4, 543-572 (1990)
CCSR-89-17A MURPHY: A Neurally-inspired Connectionist Approach to Learning and Performance in Vision-based Robot Motion Planning, Bartlett W. Mel
CCSR-90-01 Noise in the Modeling and Control of Dynamical Systems, Joseph L. Breeden, Friedrich Dinkelacker, Alfred Hübler, March 8, 1990, Phys.Rev.A 42, 5827-5836 (1990)
CCSR-90-02 Chaos in Astrophysical Systems: Core Oscillations in Globular Clusters, Joseph. L. Breeden, Norman H. Packard, Feb 7, 1990
CCSR-90-03 Periodic Entrainment of Chaotic Logistic Map Dynamics, E. A. Jackson, Alfred Hübler, Jan 1990, Physica D 44, 407-420 (1990)
CCSR-90-04 Wave Interactions in the Singular Zacharov System, Paul K. Newton, May 1990, J.Math.Phys 32 (2), 431-440 (1991)
CCSR-90-05 Coulomb-trapped Particles in the Electromagnetic Fields of an Oblique Magnetic Rotator, H.A. Zachariades, May 1990, Atrophysics and Space Sci 176, 105-121 (1991)
CCSR-90-06 Model-based Control of Burgers Equation, R. Shermer, A. Hübler, N. Packard, May 28, 1990, Phys.Rev.A 43, 6542-5654 (1991)
CCSR-90-07 Reconstructing Equations of Motion from Experimental Data with Unobserved Variables, Joseph L. Bredden, Alfred Hübler, May 29, 1990, Phys.Rev A 42, 5817-5826 (1990)
CCSR-90-08 On the Control of Complex Dynamic Systems, E. Atlee Jackson, July 1990, Physica D 50, 341-366 (1991)
CCSR-90-09 Branching Near Plane Waves in Perturbed Dispersive Systems, Paul K. Newton, July 1990, Studies in Applied Math. 85 (1991)
CCSR-90-10 The 'Suspension' of Maps by Light-ray and Billard Dynamics, E. Atlee Jackson, July 1990
CCSR-90-11 The Entrainment and Migration Controls of Multiple-attractor Systems, E. Atlee Jackson, July 1990, Physics Letters A 151, 478-484 (1990)
CCSR-90-12 Theoretical Investigation of the Peroxidase Chemical Oscillator Enzyme Analysis, Dean L. Olson, Alexander Scheeline, July 1990, Anal. Chim. Acta 237, 381 (1990)
CCSR-90-13 Adaptive Control of Chaotic Systems, Frank Ohle, Alfred Hübler, Michael Welge, Aug 1990
CCSR-90-14 Modularity and Reliablity in the Organization of Organisms, Bertrand S. Clarke, Jay. E. Mittenthal, Aug 1990, Bull Math. Biol. Vol. 54, No.1, 1-20 (1992)
CCSR-90-15 Controls of Dynamic Flows with Attractors, E. Atlee Jackson, Oct 1990, Phys. Rev.A 44, 4839-4853 (1991)
CCSR-90-16 Extracting Cellular Atomaton Rules Directly from Experimental Data, Fred. C. Richards, Thomas P. Meyer, Norman H. Packsrd, Dec 1989, Physica D 45, 189-202 (1990)
CCSR-90-17 Transition Phenomena in Cellular Automata Rule Space, Wentian Li, Norman H. Packard, Chris Langton, March 1990, PhysicaD 45, 77 (1990)
CCSR-90-18 Vowel-sound Features in a Three-dimensional Representation, Fred C. Richards, Thomas C. Bourgeois, Norman H. Packard, Oct 19, 1990
CCSR-90-19 General Resonance Spectroscopy, K. Chang, A. Kodogeorgiou, A. Hübler, E. A. Jackson, Aug 1990, PhysicaD 51, 99-108 (1990)
CCSR-90-20 Measurement of Evolutionary Activity, Teleology, and Life, Mark A. Bedau, Norman H. Packard, Dec 1990, in Artificial Life II ,(C. Langton, D. Farmer, S. Rasmussen, eds.; Addison-Wesley, New York, 1990)
CCSR-90-21 Learning Two-dimensional Spatial Dynamics from Experimental Data, Fred. C. Richards (thesis), Nov 1990
CCSR-91-01 Local Forecasting of High Dimensional Chaotic Dynamics, Thomas P. Meyer, Norman H. Packard, Feb 1991, in Nonlinear Modeling and Forecasting, (M. Casdagli and S. Eubank, eds.; Addison-Wesley, 1991)
CCSR-91-02 Dynamics of Perturbed Amplitude Equations, Paul. K. Newton, Feb 1991, Research Trends in Physics: Chaotic Dynamics and Transport in Fluids and Plasmas, Editors: I. Progogine, et al., AIP (1992)
CCSR-91-03 A Learning Algorithm for Optimal Representations of Experimental Data, Joseph. L. Breeden, Norman H. Packard, March 1991 (See 92-11 for revised version)
CCSR-91-04 Entrainment and Migration Controls of Two-dimensional Maps, E. Atlee Jackson, A. Kodogeorgiou, March 1991, Physica D 54, 253-265 (1992)
CCSR-91-05 Forecasting Probabilities Using Neural Networks, Peter Grassberger, Thomas Meyer, March 1991
CCSR-91-06 Complicated Dynamics and Controls in a Simple Economic Model, E. Atlee Jackson, May 1991
CCSR-91-07 Processes that May Shape Surfaces in Embryos, J. E. Mittenthal, L.V. Beloussov, June 1991
CCSR-91-08 The Geometry of Nonlinear Schrödinger Standing Waves, Paul K. Newton, Shinya Watanabe, July 1991
CCSR-91-09 A Coupled Lorenz-cell Model of Rayleigh-Benard Turbulence, E. Atlee Jackson, A. Kodogeorgiou, Aug 1991 (see 91-19 for revised version)
CCSR-91-10 Model-based Control of Spatially Extended Systems, Russel D. Shermer (thesis), Sept 1991
CCSR-91-11 Determination of the Absolute Maximum of Polinomials by Algebraic Bisection Method, V. Thurner, W. Eberl, A. Hübler, N. Packard, Oct 1991
CCSR-91-12 Patterns of Structure and Their Evolution in the Organization of Organisms: Modules, Matching, and Compaction, Jay E. Mittenthal, Arthur B. Baskin, Robert E. Reinke, Oct 1991
CCSR-91-13 Adaptive Mechanisms that Accelerate Embryonic Developement in Drosophila, Timothy L. Karr, Jay E. Mittenthal, Oct 1991
CCSR-91-14 Exploring the Role of Finiteness in the Emergence of Structure, Arthur B. Baskin, Robert E. Reinke, Jay E. Mittenthal, Oct 1991
CCSR-91-15 Nonlinear Analysis of Data Sampled Nonuniformly in Time, Joseph L. Breeden, Norman H. Packard, Oct 1991, Physica D58, 273-283 (1992)
CCSR-91-16 Rapidly Forced Initial Value Problems, Paul K. Newton, Oct 1991
CCSR-91-17 Long Range Predictability of High Dimensional Chaotic Dynamics, Thomas P. Meyer (thesis) Nov 1991
CCSR-91-18 Regular Language Invariance under One-dimensional Cellular Automaton Rules, Lenore Levine, Nov 1991, Complex Systems 6, 163-178 (1992)
CCSR-91-19 A coupled Lorenz-cell Model of Rayleigh-Benard Turbulence, E. Atlee Jackson, A. Kodogeorgiou, Dec 1991, Phys. Letters A168, 270-275 (1992)
CCSR-91-20 Genetic Algorithms and Computer-assisted Music Composition, Andrew Horner, David E. Goldberg, Dec 1991
CCSR-92-01 Model-based Control of Nonlinear Systems, Joseph L. Breeden, Norman H. Packard, Feb 1992
CCSR-92-02 A Model for the Evolution of Networks of Genes, Bertrand Clarke, Jay E. Mittenthal, Feb 1992, submitted to Journal of Theoretical Biology
CCSR-92-03 Emergent Colonization in an Artificial Ecology, Andrew M. Assad, Norman H. Packard, March 1992
CCSR-92-04 Designing Bacteria, Jay E. Mittenthal, Bertrand Clarke, Mark Levinthal, April 1992, to appear in Thinking About Biology, SFI Studies in the Sciences of Complexity, Lecture Notes Vol. III, eds. F. Varela, W. Stein, Addison-Wesley, 1992
CCSR-92-05 Numerical Simulation of the Aligned Neutron Star Magnetosphere, H.A. Zachariades, April 1992
CCSR-92-06 Optimal Representation of Experimental Data, Joseph L. Bredden (thesis), April 1992
CCSR-92-07 Walsh Function Analysis of Genetic Algorithms of Non-Binary Strings, Christopher Kiankho Oei (thesis), May 1992
CCSR-92-08 Unreconstructible at Any Radius, James P. Crutchfield, May 1992
CCSR-92-09 The Geometry of Nonlinear Schrödinger Standing Waves: Pure Power Nonlinearities, Paul K. Newton, Shinya Watanabe, July 1992
CCSR-91-10 Computing the Inferable Dimension of a Data Set, Joseph L. Breeden, Norman H. Packard, July 1992
CCSR-92-11 A Learning Algorithm for Optimal Representations of Experimental Data, Joseph L. Breeden, Norman H. Packard, July 1992
CCSR-92-12 Modeling and Control of Complex Systems: Paradigms and Applications, Alfred Hübler, in Modeling Complex Phenomena, L. Lam, A. Naroditsky (eds.), Springer, New York, 1992, pg. 5-65
CCSR-92-13 Attractor Vicinity Decay for a Cellular Automaton, James P. Crutchfield, James E. Hanson, Aug 1992
CCSR-92-14 Musical Structures in Data from Chaotic Attractors, Gottfried Mayer-Kress, Robin Bargar, Insook Choi, Oct 1992
CCSR-92-15 Chaos and Crises in International Systems, Gottfried Mayer-Kress, Oct 1992
CCSR-92-16 Testing for Nonlinearity in the EEG, Milan Palus, Dec 1992
CCSR-92-17 Information Theoretic Test for Nonlinearity in Time Series, Milan Palus, V. Albrecht, I. Dvorak, Dec 1992
CCSR-92-18 Chaos Concepts, E. Atlee Jackson, Dec 1992
CCSR-93-01 Global Information Systems and Nonlinear Methodologies in Crisis Management ,Gottfried Mayer-Kress, Jan 1993
CCSR-93-02 Prediction and Adaptation in an Evolving Chaotic Environment, Alfred Hübler, David Pines, 42 pg.in Complexity: From Metapher to Reality, eds. G. Cowan, D. Pines, G. Meltzer, Addison-Wesley, 1993
CCSR-93-03 The Mixing Transition: Dynamical and Kinematic Considerations, Eckhart Meiburg, Narayanan Raju, March 1993
CCSR-93-04 Musical Signals from Chua's Circuit, G. Mayer-Kress, I. Choi, N. Weber, R. Bargar, A Hübler, May 1993
CCSR-93-05 The Peroxidase/NADH Biochemical Oscillator: Experimental System, Control Variables, and Oxygen Mass Transport, Dean L. Olson, Alexander Scheeline, Anal. Chim. Acta 283, 703-717 (1993)
CCSR-93-06 Global Network Information Systems and Nonlinear Methodologies in Crisis Management, Gottfried Mayer-Kress, July 1993
CCSR-93-07 Hannay-Berry Phase and the Restricted Three Vortex Problems, Paul K. Newton, July 1993
CCSR-93-08 Basic Research - Quo Vadis? The Grossmann Committee is Giving its Recommendations, E. Dreisigacker (translated from German by Susanne Frisch), May 1993
CCSR-93-09 Perspectives and Growth Areas of Basic Research in Germany, Prof. Dr. Siegfried Grossmann (translated from German by Susanne Frisch and Alfred Hübler), July 1993
CCSR-93-10 Sound Synthesis and Music Composition Using Chua's Oscillator, G. Meyer-Kress, I. Choi, R. Bargar, Nov 1993
CCSR-93-11 Can Chaos be Symmetric?, E. Atlee Jackson, Nov 1993
CCSR-93-12 Transitions to Volatility in Random Asymmetric Neural Networks, Patrick McGuire, Henrik Bohr, Chris Pershing, Johann Rafelski, Dec 1993
CCSR-94-01 The Second Metamorphosis of Science: A Working Paper, E. Atlee Jackson, Feb 1994
CCSR-94-02 Localized Measures for Non-stationary Time-Series of Physiological Data, Gottfried Mayer-Kress, March 1994
CCSR-94-03 Collective Phenomena in Spatially Extended Evolutionary Games, Andreas V.M. Herz, March 1994
CCSR-94-04 The Changing Foundations of Science, E. Atlee Jackson, April 1994
CCSR-94-05 The Global Brain as a Modeling Pardigm for Crisis Management, Gottfried Mayer-Kress, Cathleen Barczys, May 1994
CCSR-94-06 Hyper-media on the Internet as a Tool for Approaching Global Problems: A Tele-Conferencing Experiment, G. MayerKress, William Bender, John Bazik, May 1994
CCSR-94-07 An Open-Plus-Closed-Loop (OPCL) Control of Complex Dynamic Systems, E. Atlee Jackson, I. Grosu, July 1994, revised see 95-3
CCSR-94-08 Stochastic Resonance in Threshold Devices, Peter Jung, Gottfried Mayer-Kress, Aug 1994
CCSR-94-09 Threshold Devices: Fractal Noise and Neural Talk, Peter Jung, Aug 1994
CCSR-94-10 Predicting Low Dimensional Spatio-Temporal Dynamics Using Discrete Wavelet Transforms, U. Parlitz, G. Mayer-Kress, Aug 1994
CCSR-94-11 Transferring Dynamics between Five Attractors of the Chua System, E. Atlee Jackson, Aug 1994
CCSR-94-12 Forced Drag Modification on a Cylinder in a 2D Numerical Simulation, R. Shermer, S. Balachandar, A. Hübler, Aug 1994
CCSR-94-13 A Theory for Adaptation and Competition Applied to Logistic Map Dynamics, Darren Pierre, Alfred Hübler, Physics D 75, 343-360 (1994)
CCSR-94-14 Optimal Control of Singular Motion, H. Nosaka, K Tsuji, A. Hübler, Aug 1994
CCSR-94-15 System Identification with Stochastic Rensonance, Christoph Wargitsch, Alfred Hübler, Aug 1994
CCSR-94-16 Parametric Entrainment Control, R. Mettin, W. Lauterborn, A. Hübler, A. Scheeline, Phys. Rev. E 51, 4065-4075 (1995)
CCSR-94-17 Sudden Drop of Dissipation in Field-coupled Quantum Dot Transistors, Fumiko Yamaguchi, Kiyoshi Kawamura, Alfred Hübler, Jpn. J. Appl. Phys. Vol 34 (1995) part 2, No 1B, pp. L105-L108
CCSR-94-18 Chaotic Mixing by Kneading, Susumu Fujiwara, Alfred Hübler, Aug 1994
CCSR-94-19 Noise Controlled Spiral Growth in Excitable Media, Peter Jung, Gottfried Mayer-Kress, Aug 1994
CCSR-94-20 Suppression of Higher Harmonics at Noise Induced Resonances, Peter Jung, Peter Talkner, Aug 1994
CCSR-94-21 Dynamics of Damped Coupled Oscillators Near Resonance, Lance E. Arsenault, Alfred Hübler, Phys. Rev E 51, 3561-3571 (1995)
CCSR-94-22 The Global Brain as an Emergent Structure from the Worldwide Computing Network, and its Implications for Modelling, Gottfried Mayer-Kress, Cathleen Barczys, Sept 1994
CCSR-94-23 Stochastic Resonance in Optical Bistable Systems, Roland Bartussek, Peter Hänggi, Peter Jung, Sept 1994
CCSR-94-24 Resonances of Nonlinear Oscillators, Christoph Wargitsch, Alfred Hübler, Phys. Rev. E 51, 1508-1519 (1995)
CCSR-94-25 A Tele-conferencing Experiment with WWW/Mosaic, G. Mayer-Kress, William Bender, John Bazik, Sept 1994
CCSR-94-26 Messy Futures and Global Brains, G. Mayer-Kress, Sept 1994
CCSR-94-27 Self-assembling Electical Connections Based on the Principle of Minimum Resistance, U. Dierker, M. Dueweke, A. Hübler, Sept 1994
CCSR-94-28 Perception of Music and Dimensional Complexity of Brain Activity, N. Birbaumer, W. Lutzenberger, H. Rau, G. Mayer-Kress, I. Choi, C. Braun, Nov 1994
CCSR-94-29 Spatiotemporal Stochastic Resonance in Excitable Media, Peter Jung, G. Mayer-Kress, Nov 1994
CCSR-94-30 The Theory of Multi-Barrier Crossing, P. Jung, B. J. Berne, Nov 1994
CCSR-94-31 The United Nations and Conflict Management in a Complex World, Gottfried Mayer-Kress, Paul Diehl, Holly Arrow, Nov 1994
CCSR-94-32 Nonlinear Resonances: An Overview, Christoph Wargitsch, Dec 1994, in German only
CCSR-95-01 Global Brains as Paradigms for a Complex Adaptive World, Gottfried Mayer-Kress, Feb 1995
CCSR-95-02 No Provable Limits to 'Scientific Knowledge', E. Atlee Jackson, March 1995
CCSR-95-03 An Open-Plus-Closed-Loop (OPCL) Control of Complex Dynamic Systems, E. Atlee Jackson, I. Grosu, March 1995
CCSR-95-04 Perception of Music and Dimensional Complexity of Brain Activity, N. Birbaumer, W. Lutzenberger, H. Rau, G. Mayer-Kress, C. Braun, May 1995
CCSR-95-05 Analysis of Galaxy Morphology and Evolution Using the Pointwise Dimension, Jason S. Best, Jane C. Charlton, G. Mayer-Kress, May 1995
CCSR-95-06 Self-assembling Electrical Connections on a Nanoscale, Stephen Kuemmel, Alfred Hübler, May 1995
CCSR-95-07 Desalination with Fractal Absorbers in Deep Seawater, Uwe Hansen, Alfred Hübler, May 1995
CCSR-95-08 Toward Experimental Implementations of Migration Controls, E. Atlee Jackson, I. Grosu, Aug 1995
CCSR-95-09 Stochastic Resonance and Optimal Design of Threshold Detectors, P. Jung, Aug 1995
CCSR-95-10 Dye Laser with Pump and Quantum Noise, Antonia J. R. Madureira, P. Jung, P. Häggi, Nov 1995
CCSR-95-11 Reduction of Dimension of a Chemically Realistic Model for the Peroxidase-Oxidas Oscillator, Daniel. S. Bensen, Alexander Scheeline, Nov 1995
CCSR-95-12 Regular and Chaotic Transport in Asymmetric Periodic Potentials: Inertia Ratchets, Peter Jung, J.G. Kissern, P. Häggi, Nov 1995
CCSR-95-13 Sharp Diffraction Peaks from Chaotic Structures, Alfred Hübler, Ulrich Stoffregen, Rolf Wittmann, Takashi Nagata, Dec 1995
CCSR-96-01 Study Regarding the Counting of Stable Fixed Points in Biologically Motivated Neural Networks, Paul R. Clemente, May 1996
CCSR-96-02 Adding the Sense of Smell to Cyberworld, Keila Lopez, E. Mosher, B. Mehrtens, D. Raineri, A. Hübler, March 1997
CCSR-97-01 Stable Stationary Dendritic Structures with Minimal Resistance, M. Dueweke, B. Merte, A. Hübler, April 1997
CCSR-97-02 Experimental Implementation of Migrations in Multiple-Attractor Systems, R. Weigel, E. Atlee Jackson, April 1997
CCSR-97-03 Is Quantum Chaos Stable? Does Nature Prefer Order?, M. Duez, J.Captain, A. Hübler, May 1997
CCSR-97-04 Tutoring College Physics Using the World Wide Web, E. Kennedy, A. Hübler, May 1997
CCSR-97-05 Authoring Problems by Students for Students: An Advanced Placement Physics High School Project, M. Hinton, A. Felming, R. Greene, N. Daluga, U. Thakkar, A. Hübler, Nov 1997
CCSR-97-06 Cyberprof: An Intelligent Human-Computer Interface for Interactive Instruction on the World Wide Web, D. Raineri, B. Mehrtens, A. Hübler
CCSR-98-01 A Complex System Perspective to Computer-Assisted Learning, A. Hübler, C. Martinez, May 1998
CCSR-99-01 Hebbian Learning in the Agglomeration of Conducting Particles, M. Sperl, A Chang, N. Weber, A. Hübler, March 1999
CCSR-00-01 Adaptation to the Edge of Chaos in the Self-Adjusting Logistic Map, P. Melby, J. Kaidel, N. Weber, A. Hübler, June 2000
CCSR-01-01 Scaling of Knowledge in Random Conceptual Networks, L. Durak, A. Hübler, Feb 2001
CCSR-02-01 Robustness of Adaptation in Controlled Self-Adjusting Chaotic Systems, P. Melby, N. Weber, A. Hübler, May 2002
CCSR-03-01 Enhanced Diffraction Pattern from a Fibonacci Chain, J. Xu, A. Hübler, March 2003
CCSR-03-02 Robust and Efficient Interaction with Complex Systems, G. Foster, A. Hübler, 2003
CCSR-03-03 A Conductivity-Dependent Phase Transition from Closed-Loop to Open-Loop Dendritic Networks, D. Smyth, A. Hübler, 2003
CCSR-03-04 Dynamics of Self-Adjusting System with Noise, P. Melby, N. Weber, A. Hübler, 2003
CCSR-03-05 Adaptation to the Edge of Chaos in a Non-Isothermal Autocatalator, A. Barr, A. Hübler, 2003
CCSR-04-01 Acceleration Beyond the Wave Speed in Dissipative Wave-Particle Systems, D. Farrell, A. Hübler, J. Brewer, I. Hübler, Nov 2004
CCSR-05-01 Formation and Structure of Ramified Charge Transportation Networks in an Electromechanical System, J. Jun, A. Hübler, Jan 2005
CCSR-05-02 Predicting Complex Systems With a Holistic Approach, A. Hübler, 2005
CCSR-05-03 Self-Adjusting Dynamical Systems With Wavelet Filtered Feedback, M. Baym, A. Hübler, April 2005
CCSR-06-01 A Simple, Low-Cost, Data-Logging Pendulum Built from a Computer Mouse, V. Gintautas, A. Hübler, May 2006
CCSR-06-02 Towards an understanding of membership in youth organizations: Sudden changes in the average participation due to the behavior of one individual, K. C. Phelps, A. Hübler

Lev Manovich's books

http://www.manovich.net/

Lev Manovich's books include Software Takes Command (released under CC license, 2008), Soft Cinema: Navigating the Database (The MIT Press, 2005), and The Language of New Media (The MIT Press, 2001) which is hailed as "the most suggestive and broad ranging media history since Marshall McLuhan." He has written 90+ articles which have been reprinted over 300 times in 30+ countries. Manovich is a Professor in Visual Arts Department, University of California -San Diego, a Director of the Software Studies Initiative at California Institute for Telecommunications and Information Technology (Calit2), and a Visiting Research Professor at Godsmith College (University of London), De Montfort University (UK) and College of Fine Arts, University of New South Wales (Sydney). He is much in demand to lecture around the world, having delivered 300+ lectures, seminars and workshops during the last 10 years.

The History of the Interface in Interactive Art

The History of the Interface in Interactive Art
Söke Dinkla, 1994
At the moment the catch word "interactivity" is common talk. Most often it is mentioned in connection with a revolution in television. Techno-prophets anticipate more than 200 TV channels for the near future in each home. Thus, viewers will not only be able to choose from an almost unlimited offer, they will also be able to determine the course and outcome of individual programs[1]. Proponents of these new opportunities are already praising interactivity as a means to change the passive reception of the viewer into an active one[2]. Thus, it seems as if Bertolt Brecht's Radio Theory [3], which he developed in the late twenties, is now to become reality. Brecht envisioned the transformation of broadcasting from a distribution machine into a communication device that offers listeners the opportunity to help create its content. And actually this development has been actively persued for years by groups such as the Ponton Media Art Lab, by persons such as Myron Krueger, and by the communication structure of the internet.

This slightly anarchistic approach was notably absent from this year's Siggraph computer trade show in Orlando, Florida. The trade show showed that besides interactive TV games the US-American entertainment industry is concentrating on the employment of interactive technologies in the scope of big theme parks. While the well-known Virtuality games by W-lndustries individualize the player, the theme parks stress cooperation and team spirit. The company Evans & Sutherland, for example, presented at Siggraph the game Virtual Adventures, in which six players search together for the eggs of the Loch Ness monster. The game appeals to typically athletic characteristics such as ambition and team spirit. It offers alternative experiences of pleasure and frustration, that is the classic features of a game.

Computer games like this have a more than 20 year old history of technologicaldevelopment, which remarkably took place at the same time in military research and in art. In these years Interactive Art supplied many alternatives to theabove mentioned Loch Ness game and is essentially characterized by the attempt to "humanize" the interface between system and player. On top of this, the use of technologies that address the viewer directly and involve her or him in adialogue, constitutes a decisive change in the tradition of the image. Therefore my main attention focuses in the following on the reciprocal dialogue between user and system and on the design of the interface. In the following text I will distinguish six important implications of interactivity.

0. Historical Background and some Conflicts of Interactive Art

Its background in art consists of participational art forms from the late sixties like for example Happenings and reactive kinetic environments. Theoretical works like Umberto Ecos Opera aperta (1962) [4] contributed to are interpretation of the part played by the spectator. In German aesthetics this view was developed further especially by Wolfgang Kemp in the middle ofthe eighties. His book Der Betrachter ist im Bild (The Viewer is Inside the Picture) [5], in which he describes the method of receptional aesthetics (Rezeption. . . sthetik), seems to anticipate the perception principle we areexperiencing today in virtual reality. But this line of tradition is not unbroken, as will be shown later on in this paper.

In a way Interactive Art builds on the traditions of participational art formsby allowing the viewer to intervene in the action. However, in most works, unlike in Happenings, this interaction is not meant as an attack against the established art audience. Instead, it meets the needs of a media educated public. The implications of Interactive Art, though, go even further: this art also reflects the role played by computer technology [6]. This may seem complicated, because Interactive uses the same technology it comments upon, meaning, there is a certain lack of distance. The situation of Interactive Art is therefore comparable with Video Art, which had to gain certain independence from the language of television. Both art forms demonstrate that today the role of the artist is changing significantly. Instead of being a commentator standing outside society, the artist nowdecides to take part in the socio-technological change and judge from within.
1. Power and Play

With the American Myron Krueger the development of computer-controlled Interactive Art started. He began as early as 1969 to conceive spaces in which actions of visitors set off effects. In co-operation with Dan Sandin, Jerry Erdman and Richard Veneszky he conceived the work Glowflow in 1969. Glowflow is a space with pressure sensitive sensors on its floor, loudspeakers in thefour corners of the room and tubes with coloured suspensions on the walls. Th evisitor who steps on one of the sensors sets off either sound or light effects. In the scope of the Art & Technology movement in the late sixties artists like Robert Rauschenberg and James Seawright created similar'responsive environments'. But at that time no one in the 'art world' thoughtof creating a more complex computer-controlled dialogue and focussing the interaction itself.

In the computer sciences this situation was different. Almost simultaneously with Glowflow Ivan Sutherland developed at the Universiy of Utah the precursor of today's head-mounted-display (HMD). This display was worn like apair of glasses and contained two small monitors, each of which showed a stereoscopical sight to the eyes. Sensors registrate the head movements and transmit the information to a computer which then calculates the perspective and gives the viewer the impression to move within the image.

Thus, at the end of the sixties two trends emerged independently of each other, which have significantly influenced the present situation of Interactive Art and computer technology in general:
the development of 'responsive environments' in the scope of the US-American Art & Technology movement and
the development of the head-mounted-display

Krueger's work cannot be assigned to either of these trends. Neither did he participate in the projects of the Art & Technology movement, nor did he regard the head-mounted-display as a suitable interface. He thus used a different variant, which was also developed at the end of the sixties, but in the scope of Video Art: it was the closed-circuit installation in which visitors are confronted by their own camera image. Krueger now combined this principle with computer technology.

In Videoplace, a work Krueger has been constantly developing since 1974, the visitors find themselves faced with their own projected video image that canbe changed by the computer program. In Videoplace there are a number of different interactions, in which Krueger subverts the rules of narcissistic self-reflection and self-control of the traditional video closed-circuit and lets the user play with constantly changing versions of themselves. In the most famous interaction called Critter a green figure appears on the screenand tries to make contact with the visitor. It steers towards an exposed partof the visitor's body and lands there. Then Critter begins to climb up the arm, shoulder and neck until it reaches the highest point of the head. Once there, it performs a joyful dance. Since Critter is programmed to reach the highest point of the visitor's outline, the aim of the players is to outwitCritter, that is, to subvert the program and develop their own rules. Thus, the interactions of Videoplace are not only a joyful game but are also concerned with the probing of power distribution between user and system.

Krueger's attitude towards the interface shows that he is opposed to the isolation of the user caused by the head-mounted-display. Instead, he creates an open space where it is the interaction and not the instrument that causes the proximity to the system. This has important consequences for the understanding of the interface. The technical interface - in this case the video camera - is, in a way, invisible and loses significance. It is substituted by the application itself.

In Europe the approach to Interactive Art and also the use of the interface was quite different. The situation at the beginning of the 80's could be characterized by the catch words "Participation versus Interaction".
2. Participation versus Interaction

In Amsterdam in 1983 the Australian Jeffrey Shaw produced his first interactive installation. He transferred his participational concept of art, which he developed during the sixties to computer installations. In his first interactive installation Points of View Shaw takes up the joystick, the interface that is still customary for video games. Sitting on a chair the spectator can move the projected video image of a stage with Egyptian Hieroglyphs. With a second joystick she or he can steer sound traces. InPoints of View the spectator turns into the director who individually selects the picture and sound material. The intended reception of Points of View is described by Shaw as following: "It is the particular audio visual journeymade by a spectator who operates the joystick which constitutes a'performance' of this work. For the other spectators that performance becomes'theater'. "[7]

Although in Points of View Shaw dispenses with the physical performance ofthe spectator, he still keeps his familiar terminology. The term movement does not any longer signify the movement of the performer in space, like in the former Happenings, but the movement of the image caused by the joystick. The projected scene can be changed in its perspective with only very small physical expenditure. Thus, the computer-controlled system inverts the reception situation of the earlier Happenings. Formerly the spectator had to change her or his position to perceive differently; now she or he induces the computer image to change its perspectives. Thus, the movement of the spectator is substituted by the movement of the image.

By means of the development in Shaw's oeuvre the above mentioned break in the tradition reaching from participational art forms to Interactive Art becomes clear. New points of view are not formed by physical experience but with the help of new interactive media strategies. As I presumed at the beginning, artists like Shaw adress in their Interactive Art a media-educated audience, but nevertheless formulate an opposite position to the passive reception of technically produced moving images. At the same time Shaw is also criticizing certain potentials of interactive technology itself. He decides against the video camera as the interface with the system, probably because he considers it too unvisible. Instead, he uses a bicycle in his most famous work called The Legible City, begun in 1988. With the familiar pedaling and steering movements the cyclist can move through a projected city of letters. The choice of this specific interface on the one hand aims at providing the visitors withfamiliar patterns of behaviour, on the other hand the bicycle as interface constitutes a refusal to do without physical activity altogether.
3. Proximity and Manipulation

At the same time as Points of View - in 1983 - the Canadian David Rokeby began to develop his interactive sound installation Very Nervous System, whichin the beginning he exhibited with changing titles and changing technical equipment [8]. After Rokeby had experimented for a short time with light sensors as interface and with analogous electronics, he decided - without knowing the earlier works of Krueger - to use the video camera as interface. Rokeby's Very Nervous System has a much more suggestive effect than the worksof Krueger and Shaw because he works with nonvisual system effects as well aswith an invisible interface. If one reacts intuitively to the sound, aclosed-circuit is created, in which music and movement are slowly becoming aunity.

There is, however, a basic restriction: Krueger's Videoplace requires a contrasted background to absorb distinguishably the persons in space; Rokebyon the other hand is working only with a strong spotlight to achieve the same effect. Therefore, the causal relations between an actual movement and the sound are ambiguous. Although Rokeby employs the same interface as Krueger, their positions differ from each other. Krueger's dissatisfaction with the'responsive environment' Glowflow was caused primarily by the fact that the visitors interpreted chance events as the response to their actions. While Krueger attempts a precise attribution of cause and effect to reveal the reactions of the system, Rokeby is playing with the irritation of the visitor. He hugely reduces the distance between visitor and system.

This is shown by his newest installation so far, titled Silicon remembers Carbon from 1993. In this installation the visitor is even allowed to enter the image that is projected on the floor and change it with her or his movements. Infrared sensors and cameras are used as interface With this concept of reducing the distance Rokeby attempts a tightrope walk: on the one hand the visitor assumes that she or he can control the image or the sound, on the other hand the visitor is manipulated by these effects. This suggestive power of interactive correlation is only disturbed by the fact that Rokeby, aswell as Shaw and Krueger, creates environments which allow the presence ofmore than one visitor.

The works of Shaw, Rokeby and Krueger are conceived as environments. This is not the case with the works which were created in the United States at thesame time or a bit later. Most of them are conceived as installations, thatis, the surrounding space is involved less strongly and the user often hasdirect access to the input instruments. The most common input instruments are the touchscreen and the mouse. As the works of Krueger, Shaw and Rokeby have shown, the description of the interface is not restricted to its technology. The same holds true for videodisc installations.
4. Strategies of Seduction

Nearly around the same time as similar works by the group around Glorianna Davenport at the Media Lab at MIT [9] Lynn Hershman from San Francisco developed her first interactive installation Lorna , finished in 1984. Lorna as well as Hershman's second installation Deep Contact (1990) both work withverbal requests like "Help Lorna Leave Her Home!". The picture sequences and the texts depict women in the world of media as passive objects of maledesire. In Deep Contact changes in a projected video image are triggered by touching a screen. The touching of body parts of the character Marion on the touch-screen sets off different strands of narration and, according to Hershman 'entangles the viewers into meeting their own voyeurism'[10. ]

Her newest work so far, A Room of One's Own (1992), also attributes this part to the spectator: the visitor looks through a little periscope into a small bedroom on whose back wall sequences of images are projected. The interactionin Hershman's work is being sexualized by the tactility of the touch screen (in Deep Contact ) as well as by the intimacy of the observed situation (in A Room of One's Own ). At the same time a fatal situation ensues. As soon as the spectator acts he or she is caught in his or her role as voyeur. Hershman does not use interactivity to free the user from passivity, but to expose him orher as a voyeur. Put differently, the desires of the audience are the cause for the repressive depiction of women in media. Not even interactive technology can change that fact.
5. Nonlinear Narration

The New Yorker Grahame Weinbren produced his first interactive installation The Erlking in 1986. In this installation the interaction is mainly initiated and born by mysterious, almost static images. Weinbren - in co-operation with Roberta Friedman - works with distinctly cinematographic sequences.

The first picture shows the soprano Elisabeth Arnold who sings Schubert's song Der Erlkönig. This picture functions as a leitmotif and guideline assistance to which the user can return again and again. The other pictures are partly based an Goethe's ballad, in which an old man narrates the saga of the Erlking. Originating from the basic sequence the structure of the narration branches out. It goes not only into detail but also into additional aspects which are only loosely associated with the main plot or the backup picture. In addition to this storyline Weinbren uses Freud's 1918 case study "From the History of an Infantile Neurosis" to try out a nonlinear access to the sequence of images.

Narration and song in The Erlking are being quoted as historical examples of oral tradition and are confronted with the nonlinear interactive form of narration. As a result the interactive system takes over the role of pictorial memory. The user occupies the role of the director and cutter respectively, similar to Shaw's Points of View. Weinbren hopes that interactive technologies are a more appropriate means to tell these old stories [11]. This hope is problematic, since with originally linear storylines the fragmentation of content doesn't necessarily lead to a better understanding. Only if the stories were very well known today - that means if they had a kind of socialsignificance - the interactive access could possibly add new points of view.
6. Remembering, Forgetting, Reconstructing - The 'Surrogate Travel'

The New Yorker Ken Feingold is the first who uses a touchscreen as interface without integrating a second monitor. In his first interactive installation The Surprising Spiral from 1991 the surface susceptible to touch is set in the cover of a book. Fingerprints and two open hands inside the book indicatethat this object may be touched. Thus, the book functions as interface to the pictorial action of The Surprising Spiral. A second contact point, depicting a mouth with a light source, makes sound manipulations possible.

On the videodisc of The Surprising Spiral pictures and sound are stored that Feingold recorded in India, Japan, Argentina, Thailand, Scotland and theUnited States over a period of 12 years. The documentary pictures are contrasted with fast-moving Japanese TV advertisings and coloured computer animations. Feingold makes a collage out of disparate film material from different contexts, such as ethnographical, cultural, historical, religious, aesthetic and medial contexts. Thus he combines nearly all the approaches thatuntil now made the reconstruction of historical facts possible. It becomes clear that despite the partly documentary film material and the mostly photorealistic video pictures the aspect of documentary truth in the TheSurprising Spiral is of no importance [12].

Because of the missing mise-en-sc&eagrave;ne it is only the interaction, or to be more precise, the filling up of empty positions, which creates a new context for the user. Thus, her or his part in the reconstruction of reality seems to be autonomous to a large extent Although Feingold - with the book as interface -is quoting the reading culture, his position differs fundamentally from Shaw's, who in his Legible City tries to mediate between reading culture andi nteractive perception. In Feingold's Surprising Spiral the book is a relict of times past - auratically charged, but nevertheless hollow and robbed of its original function. What today is preserved or forgotten as history, does not follow the laws of written culture anymore, but is determined by the technological memory media. The reconstruction of the stored material is determined by the perception strategies of these new media.

The Surprising Spiral does not allow the purposeful approach of certain places, which is still possible in Shaw's Legible City. Its place is taken by the non directional, intuitive exploration of images and texts. This gliding through the picture sequences is similar to the images of Feingold's travel impressions - short moments which are unrepeatable, which are always remembered, or reconstructed differently or sometimes even forgotten.

On the basis of this sketch showing the beginnings of Interactive Art one cans ee that critical concepts about the role of interactivity in society are not missing. By discussing the works of Myron Krueger, Jeffrey Shaw, David Rokeby, Lynn Hershman, Grahame Weinbren and Ken Feingold I have distinguished six important implications of interactivity:
Power and Play
Participation versus Interaction
Proximity and Manipulation
Strategies of Seduction
Nonlinear Narration and
Remembering, Forgetting, and Reconstructing
7. The Second Generation

In the past years the second generation of interactive artists has emerged. Like with every second generation things are both easier and more difficult for them. On the one hand the artists are able to build on what has already been achieved, on the other hand they have to fulfill expectations of new developments. This young generation shows a clear geographical separation concerning the technologies used. While North-American and Canadian artists like Bill Seaman and Luc Courchesne are working with interactive installations and are using a touchscreen as interface, in Europe and especially in Germany the environment is asserting itself. The group Supreme Particles from Germany, for example, is working with the video camera as interface like Krueger and Rokeby. In Architexture the recorded image of the visitor is reproduced as a metallic-organic colour pattern on a moving projection screen. The computer graphical alienation of the image is so pronounced that a recognition is not easy. The fascination of the game is created primarily by the inner life of the image that pulsates between its own morphology and the representation of the visitor.

The sea animals in A-Volve by Christa Sommerer and Laurent Mignonneau have anautonomous existence, too. In A-Volve the visitors create little sea creatures with which they can then interact in a large water basin. The individual virtual creatures react very differently to the hand movements of the visitors. Some can be attracted, others try to flee from the hands. As their modes of behaviour are very difficult to find out, they create free play for the visitors who start to ascribe individual characteristics to thevarious animals. The interface Sommerer and Mignonneau worked with has completely lost its technoid character. This idea was already employed by the artists in their 1992 work Interactive Plant Growing. Here the reaching forreal plants causes the growth of computer-generated plants on a projection screen. Sommerer and Mignonneau draw the consequences from the increasing control computer technology has over our environment. To them the so-called artificial and the natural world do not oppose each other, but are closely interconnected areas. In dealing with these areas a sensibility is required that has to be partly re-learned, partly found anew.

Agnes Hegedfs' work Handsight requires a similar sensibility. The externalised eye - as the interface with the system - gives the viewer access to the virtual world which in the end is to be explored by using the sense oftouch. In Joachim Sauter's and Dirk Lysebrink's "Zerseher", too, the eye acquires tactile qualities. Only through the eye movements that are recorded by an eye tracker can a monitor image be destroyed and newly generated.

These few examples already show that the concepts for designing the interface and with it the design of the interaction are getting more and more subtle and diverse. The feedback-loop, which was most conspicuous in David Rokeby's Very Nervous System, is getting closer in the works of the young generation. The group Otherspace - that by the way, like the Supreme Particles and Sommerer & Mignonneau worked at the Institute for New Media in Frankfurt - uses brainwaves' to set little beetle-like beings into motion. Only if the test person manages to relax, do the solar-powered beetles start to move. Their movement in turn soothes the visitor so much that the result is a very intimate relationship. The debate on Artificial Life - or A-Life - that took place at last year's Ars Electronica seems to have created a sort of 3. Frankfurt School that is decisively influencing the development of Interactive Art. The question about the crucial differences between the first and the second generation of interactive artists makes clear various aspects:
Through institutions such as the Institute for New Media in Frankfurt, theMedia Art Academy in Cologne and the Karlsruhe Centre of Art and MediaTechnologies SGI workstations are available to young artists especially in Germany. This is one reason for the fact that the second generation favours interactive environments (and invisible or 'natural' interfaces) overinstallation work.
While in the work of the first generation a story or metaphors often influenced the content of the work, the content of the newer works is the interaction itself, which works without any form of traditional narration. Because of this new meaning of the interaction the design of the interface becomes increasingly important.
At the same time the antagonism between computer system and human being isovercome. It is not so much the antagonism but the forms of futureco-existence that are being reflected. That is, to put it shortly, the affirmation of interactive technology prevails over a critical distance, butthis does not result in an unreflected use of technology. Concerning thisgeneral affirmation of technology the first generation does not differ greatlyfrom the second.

All in all the multi-layered, encoded levels of meaning in early interactiveworks, which disclose their actual content only after a sort of decoding, contributed to a certain acceptance of Interactive Art in the 'art world'. However, this strategy had its price: the narrational contents often do notcome from contemporary social contexts, but from the safe context of history. With this, some artists of the first generation adressed the 'reading-habits' of the artcritic's establishment. They negated the achievements of the avantgarde, which clearly saw that art only has a chance when talking to the masses and not only to a small bourgeois elite.

This trend is starting to change with the new generation. If they will pursue this direction Interactive Art will fulfill its promise of being the beginning of a new dialogue between the two ideologically separated sections of art and technology.
References
[1] Uwe Jean Heuser: Der Computer Sbernimmt (The Computer Takes Over), in:Die Zeit, 29. 10. 1993, pp. 41 -42
[2] See for example Lynn Hershman: Art-ificial Sub-versions, Inter-action, and the New Reality, in: Camerawork. A Journal of Photographic Arts, Vol. 20, Nr. 1, 1993, pp. 20-25, p. 22
[3] Bertolt Brecht, Radiotheorie (Radio Theory), in: Gesammelte Schriften, Vol. 18, Frankfurt/M. 1967, pp. 119-134
[4] Umberto Eco, Das offene Kunstwerk (The Open Work, Opera apena), Frankfurt/M. [2]. 21973
[5] Wolfgang Kemp, Der Betrachter ist im Bild. Kunstwissenschaft und Rezeptionsästhetik (The Viewer is Inside the Picture. Sciences of Art and Receptional Aesthetics), Köln 1985
[6] See Erkki Huhtamo: Commentaries on Metacommentaries on Interactivity, in: CAD Forum, 4th International Conference on Development and Use of ComputerSystems, MediaScape, Zagreb 1993, pp 229-236
[7] Jeffrey Shaw, information on Points of View 1, 2, 3, dated 1983, withletter to the author, 24. 6. 1991
[8] For a detailed discussion of the development of Rokeby's oeuvre and itsdating see Süke Dinkla: Interaktive computergestützte Installationen. Eineexemplarische Analyse (Interactive Computer-Controlled Installations. A Studyof Some Examples), unpublished MA thesis, University of Hamburg, 1992, pp. 73-78. Here you will find a more detailed discussion of Shaw's Legible City and Krueger's Videoplace, too. A kind of summary of the MA thesis is published under the title 'Interactive Computer-Supported Installations. Examples of a New Art Form', in: CAD Forum, 5th International Conference on Development and Use of Computer Systems, MediaScape, Zagreb 1994, pp. 29-36 (originally published in: Künstlerischer Austausch. Artistic Exchange. Conference Proceedings of the XXVIII. International Congress for Art History, Berlin 1992, pp. 283-294, ill. , german)
[9] The former Film/Video Group (now the Interactive Cinema Group) produced the Videodisc Elastic Movies Disc with pieces by Bill Seaman, Luc Courchesne, Russell Sasnett and Rosalyn Gerstein in 1984. They worked at that time withBenjamin Bergery and Glorianna Davenport in the work-shop in Elastic Movie Time. This information is based on interviews with Bill Seaman in Karlsruhe(8. /9. 2. 1994) and with Glorianna Davenport (11. 7. 1994) in Cambridge and on theviewing of the Elastic Movies Disc at the Media Lab at MIT.
[10] See Lynn Hershman: (note 2), pp. 23, 24 and Lynn Hershman: Some Thoughts on Deep Contact, unpublished statement, 1991
[11] Interview with Grahame Weinbren, 18. 7. 1994, New York City
[12] Timothy Druckrey made a similar observation concerning Feingold's work Childhood/Hot and Cold Wars/The Appearance of Nature in his article 'Revisioning Technology', in: Iterations. The New Image, ed. by Timothy Druckrey, International Center of Photography New York City, Cambridge/London 1993, pp. 17-38, p. 35

Instants of Metamorphosis // YouTube

Entrevista com Borges em 1980

Quarta-feira, 19/8/2009
Entrevista com Borges em 1980

Borges e Osvaldo Ferrari, Diálogos
Julio Daio Borges
Quinta-feira, 15/4/2010
Quando se lê Platão e se descobre Sócrates, a primeira sensação é de que a arte do diálogo se perdeu através dos séculos. Como disse alguém, Sócrates é uma grande presença cênica (muito difícil encontrar uma pessoa que se iguale). Mas Borges, nosso contemporâneo no século passado, esteve muito próximo disso, se não reviveu a velha arte, com seus próprios diálogos. Wittgenstein, nos seus últimos anos, concluiu que não conseguia mais escrever filosofia, mas que ainda poderia falar sobre ela. E fez isso enquanto pôde. Borges, apesar da cegueira (que não o abateu), continuou "escrevendo", ditando textos seus, mas talvez tenha se especializado em falar de literatura, mais do que qualquer coisa. Se, em anos recentes, a Globo retomou os diálogos com Ernesto Sabato (que enfrentava Borges, mas que não estava à altura dele), em 2009, a Hedra trouxe uma caixa com os diálogos de Osvaldo Ferrari (que, mais sábio, deixou Borges falar livremente). Cada volume, em princípio, enfoca um tema ("Amizade", "Filosofia", "Sonhos"), mas a melhor ideia talvez seja percorrer o índice e ouvir o bruxo argentino no ponto certo. São especialíssimas suas considerações, por exemplo, sobre Spinoza, Virgílio, Sócrates (claro) e Flaubert. Ainda que ele se debruce sobre contemporâneos seus como Kafka, Bertrand Russell, Rubén Darío e Bioy Casares (naturalmente). Registrados entre 1984 e 1985, os diálogos pegaram Borges, exatamente, no penúltimo e no antepenúltimo ano de sua vida, quando já havia atingido, praticamente, um estado de clarividência. Exalava literatura, filosofia e erudição por todos os poros e escutá-lo nunca era uma perda de tempo. Com a televisão cedendo ao populismo há décadas, o rádio decaindo na inércia da indústria musical e os nossos jornais virando pó com a internet, só o YouTube nos permite, de relance, imaginar o que teria sido Borges naqueles tempos. Daqui a pouco, estaremos tão longe dele quanto estamos de Sócrates - o que lhes permitirá um encontro, nem que seja, nas esquinas do pensamento.

Box - Dialogos Borges

www.englishpage.com

English Listening Resources
Englishpage.com has created this collection of listening resources to help advanced English learners learn English online. The resources below include free online news and culture broadcasts, online music, online movies, online radio and more. (Most resources work best with high-speed Internet access.)

SKILLED ART ENGENHO & ARTE

SKILLED ART ENGENHO & ARTE
Defining art is not an easy task and may be an impossible one. Nonetheless, it can be stated that experiencing art inevitably implies transformations of consciousness.
Artists have specialized on developing technologies and implementing techniques in the design of artistic experiences. Therefore, in the present context of consciousness studies, artists are emerging as relevant contributors. Being technologies a consequence of scientific developments, artistic practice becomes an interesting experimental method for the generation of new knowledge. Art is transdisciplinary by nature, independently of the channels of expression used. Strategies are needed for the integration of this ways of thinking amongst different scientific communities and within civil society. The aim of this conference is to discuss principles to be applied in the creation of these strategies and in consequent future transdisciplinary practices.

Complexity and Architectural Design Processes

My Master Thesis (2003-2006):
In-Between and Through: Complexity and Architectural Design Processes
Abstract
Assuming digital technologies simultaneously as media and environment that influence and make feasible the emergence of an architectural thought ready to incorporate the complexity, the goal of this work is to increase the understanding circa interfaces between complexity and architectural design processes. This approach draws on understanding the scope of the change brought by complexity, its historical, and its fundamental principia, aiming to achieve subsides for defining criteria to analyze and select examples of complexity emergence in architecture, focusing on design process. Two periods of time were selected – from 1960s to 1970s and, from 1990s to 2000s –, distinguishing two specific moments closed related. The intention is to contribute for an effective understanding of architecture not merely or specifically as object, but as a complex system, simultaneously organized and organizer.

http://www.arquitetura.eesc.usp.br

http://www.nomads.usp.br/site/

http://www.nomads.usp.br/pesquisas/cultura_digital/complexidade/

Scholarpedia

Scholarpedia feels and looks like Wikipedia -- the free encyclopedia that anyone can edit. Indeed, both are powered by the same program -- MediaWiki. Both allow visitors to review and modify articles simply by clicking on the edit this article link.

However, Scholarpedia differs from Wikipedia in some very important ways:
Each article is written by an expert (elected by the public or invited by Scholarpedia editors). Each article is anonymously peer reviewed to ensure accurate and reliable information. Each article has a curator -- typically its author -- who is responsible for its content.Any modification of the article needs to be approved by the curator before it appears in the final, approved version.Herein also lies the greatest difference between Scholarpedia and traditional print media: although the initial authorship and review are similar to a print journal so that Scholarpedia articles could be cited, articles are not frozen and outdated, but dynamic, subject to an ongoing process of improvement moderated by their curators. This allows Scholarpedia to be up-to-date, yet maintain the highest quality of content.

An example: Encyclopedia of dynamical systems

Cybernetics and Systems Journals

Cybernetics and Systems Journals
Principia Cybernetica Web presents an alphabetical list of journals (and newsletters) on, or related to, cybernetics and systems research. In the list, a "*" denotes the journals that are most central to the domain. Some of the addresses may no longer be up to date, though most material is fairly recent. Please send a note tocybernetica [at] vub.ac.be or annotate this page if you would like to make an addition or correction. See also the list of cybernetics journals from the ASC, ASSA's list of Systems Journals, and the PubList's general list of journals.

GOGOGOCH

gogogoch

Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch - pronunciation - (short form Llanfairpwllgwyngyll), also spelled Llanfair Pwllgwyngyll and commonly known as Llanfair PG or Llanfairpwll, is a village and community on the island of Anglesey in Wales, situated on the Menai Strait next to the Britannia Bridge and across the strait from Bangor. The village is best known for its name, the longest place name in Europe and one of the longest place names in the world.

But the word is used in the movie Barbarella (1968)
[Dildano arranges a clandestine meeting with Professor Ping]
Dildano: Our rendezvous point will be at 1600 hours. And our password will be… "Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch".
Barbarella: You mean, the secret "Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch"?
Dildano: Exactly.

Soft Borders

Soft Borders is the 4th Upgrade! International Network Conference and Festival, that will take place in São Paulo city, Brazil, from 18th to 21st/october/2010. The previous editions of the conference happened in New York (USA), Ocklahoma City (USA) and Skopje (Macedonia).
The conference will gather artists, curators and researchers from 30 countries to present and discuss the field of new media art, in the international and local contexts, especially in Brazil, the country that is hosting the present edition of the event. The call for participation is internationally open and the accepted formats are: papers, posters and workshops. Click on “Call for Participation” in the navigation menu to submit your work.
The new media festival that is also part of the Soft Borders evente will present artworks selected by two curators – a Brazilian and an Upgrade! International Network curator.
The Soft Borders theme, that drives either the conference and the art festival, aim to discuss the borders dissolutions between the many fields of the knowledge and life, the contamination of the one another, particularly regarding the relationship between art-science-technology.

SIGRADI 2010

The 2010 SIGRADI Conference in Bogota will encourage reflection on the discontinuities and continuities that characterize creative processes and project design across different disciplines.

The activities involved in making products, offering services, or providing infrastructure usually require the systematic development of models, innovatory prototypes and finished products. However, it is important to recognize that currently, disruption, whether understood as method, strategy or thought process, can make an important contribution to creative, innovatory and inventive processes.

Taking as its starting point the uniqueness and specificity of different disciplines, each of which has its own models, processes, methods and goals, the conference will generate common ground to enrich reflection and practice in the digital media field. The 2010 SIGRADI Conference offers the ideal scenario for people to meet and engage in transformative dialogue.

Gregory Bateson: consciousness and psychopathology

I found a website with some interesting Gregory Bateson's lectures:
http://www.archive.org/
here, one of the lectures' audio available:
Gregory Bateson's 1971 lecture on consciousness and psychopathology.
Gregory Bateson lecture on consciousness and psychopathology audio

THE DOUBLE BIND THEORY

THE DOUBLE BIND THEORY: STILL CRAZY-MAKING AFTER ALL THESE YEARS
Paul Gibney
With fifty years having passed since Gregory Bateson and his colleagues published their famous paper, ‘Towards a Theory of Schizophrenia’, it is an opportune time to review the theory and its clinical relevance today. Bateson’s team began with an interest in how the identity and functioning of self regulating systems was maintained through mechanisms of information, control and feedback. This work foreshadowed and gave momentum to the development of family therapy, with several members of the original research group later forming the initial schools of family therapy. Bateson, accompanied by Haley, Weakland and Jackson, formed a complex picture of the reciprocal complementariness and escalations that form family life. The ‘double bind hypothesis’ and ‘the schizophrenic dilemma’ were seen as part of a continuum of human experience of communication, that involved intense relationships and the necessity to discriminate between orders of message. Fifty years on, the double bind hypothesis of Gregory Bateson and his research group still offers ongoing insights, cause for reflection, an area and methodology of research, and proposes interventions that dismantle pathology and offer hope of new, more functional pathways. online pdf

www.docstoc.com

Find and share: .DocStoc

Naturalizing Phenomenology

Naturalizing Phenomenology: Issues in Contemporary Phenomenology and Cognitive Science
This work aims to shed new light on the relations between Husserlian phenomenology and the present-day efforts toward a scientific theory of cognition—with its complex structure of disciplines, levels of explanation, and conflicting hypotheses.
The book’s primary goal is not to present a new exegesis of Husserl’s writings, although it does not dismiss the importance of such interpretive and critical work. Rather, the contributors assess the extent to which the kind of phenomenological investigation Husserl initiated favors the construction of a scientific theory of cognition, particularly in contributing to specific contemporary theories either by complementing or by questioning them. What clearly emerges is that Husserlian phenomenology cannot become instrumental in developing cognitive science without undergoing a substantial transformation. Therefore, the central concern of this book is not only the progress of contemporary theories of cognition but also the reorientation of Husserlian phenomenology.
Synopsis:
An analysis of the contribution Husserlian phenomenology can make to contemporary theories of cognition.
In googleBOoks

Embodied Mind

The Embodied Mind: Cognitive Science and Human Experience
Franscisco J. Varela, Evan T. Thompson and Eleanor RoschThe Embodied Mind provides a unique, sophisticated treatment of the spontaneous and reflective dimension of human experience. The authors argue that only by having a sense of common ground between mind in Science and mind in experience can our understanding of cognition be more complete. Toward that end, they develop a dialogue between cognitive science and Buddhist meditative psychology and situate it in relation to other traditions such as phenomenology and psychoanalysis.

Principia Cybernetica Web

Principia Cybernetica Web is the website of the Principia Cybernetica Project (PCP), an international organization. The Project aims to develop a complete philosophy or "world-view", based on the principles of evolutionary cybernetics, and supported by collaborative computer technologies. To get started, there is an introduction with background and motivation, and an overview, summarizing the project as a whole.

Evolutionary cybernetics
Evolutionary cybernetics can be defined as the study of how the processes of variation and selection give rise to organization. This means, first of all, a study of the dynamics of distinctions, connections, variety, closure and constraint, that is, the fundamental aspects of organized complexity. This will allow us to better understand how systems emerge out of unstructured aggregates of components, and how variation and selection take place at different system levels and between different, co-evolving systems.

Spin-glass model of evolution
The model of evolution, discussed in Quasispecies, implies a strong assumption: the selective value is determined by the Hamming distance between the particular and unique master sequences. Only one maximum of the selective value exists. Using the physical spin-glass concept, we can construct a similar model for a very large number of the local maxima of a selective value.he spin-glass model of evolution refers to the "organisms", which have many randomly interacting genome elements. Evolution can be considered as a search of such genome elements, which are able to cooperate in the most successful manner.