Insights from Arakawa and Gins' Table

Within the four-day festival organised by Keane, j., Prohm, A. and Manning, E. called "The Proceeding Procedure: Festival of In/Confluence"there was an evening of performances, reading, improvisation and films curated by Alan Prohm and Mike Hornblow, I was invited to read from my current writing within this evening's program.

Constructing the conditions of and environments for interdisciplinary research on perception and action

This paper suggests ways in which art processes may contribute to the interdisciplinary study of perception and action and the relationships between body, person, and environment. Artists-turned-architects Arakawa and Gins serve as the most advanced example of an interdisciplinary research project in terms of coordinating material processes with contemporary findings, methods, and orientations from across the arts, humanities, and hard and soft sciences. In the first section of the paper, I discuss Arakawa and Gins's Reversible Destiny Lofts at Mitaka as an example of their procedural approach to long-term sustainable experimental environments. In the second section, the tactics through which Arakawa and Gins have repositioned art for the nonart purposes and common research goals are posited. Finally, I briefly outline the disciplinary positions and research values needed in order to move toward a more inclusive and interdisciplinary research practice.

Boundary swaying

This practice-led research is positioned within my ongoing enquiry into the dancer’s experience and role within the creative process. Gins and Arakawa (1997) and Keane (2007) speak to the unsatisfactory reliance on discipline boundaries, to describe the dynamic lived-experience of interaction. This theorising is of application to this project, which examines creative agency through the lens of Arakawa and Gins’ language prompt, boundary-swaying. In this project the boundaries of movement creator, performer and director overlap and blur through the use of improvisation and multiple cameras. All contributors are invested creatively and compositionally in the ensuing dynamic collaboration, wearing many hats, ‘conceiver, creative thinker, teacher and learner’ (McKechnie 2005, 93; Stevens & McKechnie 2005, 250). This project asked the question, how can the work of Arakawa and Gins to agitate, disrupt, and transform the modus operandi of creative practice between choreographer and practice, dancer and practice and choreographer and dancer? The use of Arakawa and Gins’ philosophy and language prompts within this project stimulated and positively influenced the established creative relationship of researcher and choreographer/artist in the following ways: • Foregrounded the dancers tacit knowledge, first-hand experience, know-how and embodied savviness; • Promoted artistic collaboration, illuminating new creative possibilities, choices and innovation; • Facilitated the distribution of creative authority and agency. This creative work was presented as part of the AG3 ONLINE: the Third International Arakawa and Gins - Architecture and Philosophy Conference. The work was vetted for inclusion by an international panel of examiners.

A glossary of bodily responses

A collaborative video with Avril Huddy where two viewpoints, performer and documenter, were presented simultaneously to investigate Arakawa and Gin’s notion of “boundary-swaying”. In this performance-work, the performer influences what the camera is able to capture by engaging the documenter in a form of improvised dance. The performer’s movements appear impulsive and unpredictable, testing ways for the documenter to frame the performer’s movement. The images revealed by the documenter’s camera reflect a complexity of moments and co-incidences, evoking a sense of the performer’s embodied thinking within improvised movement. While a second camera uses a conventional wide angle shot to document the unfolding of the performance-work and track the connection between the documenter and the performer. While the performance-work itself is still highly-experimental, the ideas underpinning this exploration suggest how future investigations integrating more sensitive technology such as motion capture and tracking devises may be investigated. This performance-work formed part of the Creative Response Exhibition curated by Alan Prohm, Bill Lavender and Jason Nelson and a peer-review committee as part of the proceedings of the AG3 Online: Third International Arakawa and Gins Architecture and Philosophy Conference, hosted by the Centre for Public Culture and Ideas at Griffith University.

Affect : initiating heuristic life

This paper re-examines the relationship between affect and effect, discussing them as research values that have emerged from the life sciences, the arts and philosophy and, more importantly, considering them as systems of relations underpinning experiential orientation by which to initiate change and hold the world in place. The notion of æffect may be defined as the continuous measure performed upon the systems of affect/effect and reapplied to events and things. Æffect is a coordinated system of cognition where concurrent measures impact on each other. In doing so, they specify perception and action on multiple registers and scales of events. It is important to recognise that the functioning of affective and effective systems in the body allows, and even requires, paradoxical logics to coexist and be deployed as processes that shape the organism-person-environment. Discussion of selected works from Arakawa and Gins will supply examples of tactics that combine built environments with discursive constraints to guide embodied attention. The practice of embodied cognition dilates the thresholds separating the organism from person and the person from environment, and moves towards an atmospheric intricateness (Arakawa and Gins 2003a:25) that may become the blocs of a new materialism for heuristic life.

Enactive research : transversal possibilities for expanding the imaging of science

This paper explores the notion of the expanded image as a transdisciplinary interaction between people and environments. In support of this proposition, images and imaging will be discussed through a series of transformative steps: from the diagram to the biogram and from the biogram to biotopology. Two research projects, exemplary of a transdisciplinary approach, inform the move to biotopology (the continuous surface of interactions tied to imaging practices): first, theories of enaction in cognitive science foreground co-selective processes and the precariousness of self- organizing systems and supply new ways of imaging body-environment relationships (Stewart et al 2010; Thompson 2007; and Varela et al 1993); and second, the procedural architecture of artist- turned-architects Arakawa and Gins foregrounds the reconfigurability of the co-selective process that becomes an enactive practice. These approaches suggest that if the image were expanded to include the intersection of the human organism’s behaviors, artifacts (such as images) and built- environments, then the ‘person’ whose myriad surfaces flicker towards future action, might become the best description of an expanded form of imaging, always in process and flickering towards future action. The many and non-locatable surfaces of person would defy disciplinary boundaries and interfere with habitual patterns of imaging. Ultimately, the aim of expanding imaging practices is to expand an embodied capacity to configure and reconfigure conceptual and material realms.

The science of our own fiction : affective experiments enacted through creative research

This paper will explore the ways in which art may be understood as an ongoing experiment that interacts with the plasticity of the body to prompt change and affect the body-environment relationship. The arts offer an approach to research that recognizes the importance of the affect in studies of perception and action, self-organization and selection. An affective approach to experimentation would connect cognitive activity to the material processes of the environment in a science of our own fiction. This connection becomes the basis of affective experiments, which aim to yield new insights by merging the creative researcher with self-affecting-experimenter. To this end, I will discuss the scientific objectives of the “rubber hand”, and the ‘mirror-box” experiments are contrasted with work by artists-turned-architects Arakawa and Gins and three of my creative projects to suggest how creative research might enact embodied change. Throughout the paper I will argue that cognitive processes such as attention, selection, decision and judgment are ripe for re-entry and experimentation through an embodied approach to acquiring knowledge that is particular to the arts.

Here where it lives … bioscleave

This essay introduces the work of Arakaw and Gins to interdisciplinary specialists and scholars and practitioners who are concerned with issues of art-science convergence. The co-authors discuss several points of view to the work of these artist-turned-architects and address the difficulties and challenges that their work represents in terms of the convergence and complexity of multiple dicourse and the practical challenges to embodied experience, technlogy-based approaches ot knowledge acquisition and perceptually-based learning environments.

Building movements: directed improvisation performances : conversing with buildings; assisted falling

For these performances, the new Design Hub building will play the role of architectural surrounds used as spatial research devices, architectural agent and collaborator – by giving the building our attention we aim to bring it and its affordances explicitly into the collective body. In exploring the set of interlinked spaces in the Hub (with an emphasis, we propose, on the stairs) as “elaborately structured pretexts for action” , we anticipate that the beginnings of an approach may emerge and allow us to understand that when a person “flexes her muscles, a person [also] flexes her surroundings”. Arakawa and Gins offer ways to assist us in approaching architecture as a tentative constructing toward a holding in place – in which all modes of sensing and scales of action are exercised – through their notions of ‘architectural surround’ and ‘architectural body’ garnered from chapters ‘Notes for an Architectural Body’ and ‘Architectural Surround’ (Gins and Arakawa, 2002).

Eight very vary(s): towards a program of mistakes-on-purpose

In 2007, I spent eight weeks in Residency at the Architectural body Research Foundation (Houston Street, NY, NY) with Arakawa and Madeline. In addition to discussion current projects, meeting researcher practitioners and students who would come by the office or talking to people on the phone who had just written or done something of interest, reviewing texts and discussing pressing ideas, Madeline had started work on an Encyclopaedia of Mistakes prompted by the mistakes on Purpose procedure. Every afternoon we would spend three hours or more at the end of the day working on the spectrum and placement of mistakes on the spectrum, lists of mistakes and refinement of what the role of mistakes might be across the organism-person-surround and the potential for perceptual knowing. As the work is an unfinished 31 page manuscript, I will not cite it directly but rather speak about it and the thinking process that went into the many many versions and amendments that produced in February and March of 2007.

Jondi Keane, Alan Prohm, Erin Manning (2014): organisers and curators

Keane, Prohm and Manning organised performative process for collecting and assembling materials for a publication. The event/process focused on work related to and inspired by the work of Arakawa and Madeline Gins. the festival will be held over 4 days at the Glasshouse in Brooklyn (4-7 June, 12-5pm). The publication, planned for release in 2015/16, is being imagined as a print + digital document an/archiving this moment of movement around – and going forward with – the work of Arakawa and Madeline Gins. This book will be dedicated to Arakawa and Madeline, with special tribute to Madeline, whose own last book, "Alive forerever, not if but when", will be coming out in 2015/6.

Interactions between shallow and deep convection under a finite departure from convective quasi–equilibrium

The present paper presents a simple theory for the transformation of non-precipitating, shallow convection into precipitating, deep convective clouds. In order to make the pertinent point a much idealized system is considered, consisting only of shallow and deep convection without large–scale forcing. The transformation is described by an explicit coupling between these two types of convection. Shallow convection moistens and cools the atmosphere, whereas deep convection dries and warms, leading to destabilization and stabilization respectively. Consequently, in their own stand–alone modes, shallow convection perpetually grows, whereas deep convection simply damps: the former never reaches equilibrium, and the latter is never spontaneously generated. Coupling the modes together is the only way to reconcile these undesirable separate tendencies so that the convective system as a whole can remain in a stable periodic state under this idealized setting. Such coupling is a key missing element in current global atmospheric models. The energy–cycle description as originally formulated by Arakawa and Schubert, and presented herein is suitable for direct implementation into models using a mass–flux parameterization, and would alleviate the current problems with the representation of these two types of convection in numerical models. The present theory also provides a pertinent framework for analyzing large–eddy simulations and cloud–resolving modelling.

A review of the theoretical basis for bulk mass flux convective parameterization

Most parameterizations for precipitating convection in use today are bulk schemes, in which an ensemble of cumulus elements with different properties is modelled as a single, representative entraining-detraining plume. We review the underpinning mathematical model for such parameterizations, in particular by comparing it with spectral models in which elements are not combined into the representative plume. The chief merit of a bulk model is that the representative plume can be described by an equation set with the same structure as that which describes each element in a spectral model. The equivalence relies on an ansatz for detrained condensate introduced by Yanai et al. (1973) and on a simplified microphysics. There are also conceptual differences in the closure of bulk and spectral parameterizations. In particular, we show that the convective quasi-equilibrium closure of Arakawa and Schubert (1974) for spectral parameterizations cannot be carried over to a bulk parameterization in a straightforward way. Quasi-equilibrium of the cloud work function assumes a timescale separation between a slow forcing process and a rapid convective response. But, for the natural bulk analogue to the cloud-work function (the dilute CAPE), the relevant forcing is characterised by a different timescale, and so its quasi-equilibrium entails a different physical constraint. Closures of bulk parameterization that use the non-entraining parcel value of CAPE do not suffer from this timescale issue. However, the Yanai et al. (1973) ansatz must be invoked as a necessary ingredient of those closures.

Comments on “An ensemble cumulus convection parameterization with explicit cloud treatment”

Wagner and Graf (2010) derive a population evolution equation for an ensemble of convective plumes, an analogue with the Lotka–Volterra equation, from the energy equations for convective plumes provided by Arakawa and Schubert (1974). Although their proposal is interesting, as the present note shows, there are some problems with their derivation.