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2019Almeidaferreiragirao10179 University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2019 Artistic Modulation of Consciousness by Bioelectromagnetic Stimulation Almeida Ferreira Girao, Luis Miguel http://hdl.handle.net/10026.1/14748 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. ARTISTIC MODULATION OF CONSCIOUSNESS BY BIOELECTROMAGNETIC STIMULATION by LUIS MIGUEL GIRÃO A thesis submitted to Plymouth University in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Art, Design and Architecture SEPTEMBER 2017 Acknowledgements My wife, Dominika Borsukova Girao, is super. Without her support and the support of my father Antonio Girao, my mother Marieta Girao and my sister Daniela Girao, I would never have had the determination to pursuit such task. My son, Gustav Girao, is a wonderful companion and with his coolness he helped me to write this dissertation smoothly. I would like to thank Irene Ingardi, Andras Laszlo, Dave Tucker and Richard Thrift for their help on formal aspects and in making sure of a proper use of the English language. Roy Ascott is an endless source of inspiration and direction. Mike Phillips is an indispensable source of support. I would also like to thank all the Planetary Collegium members for the endless discussions. Jose Mariano Gago (1948-2015) was the one triggering, in August 2001, while visiting the Bienal de Cerveira in Portugal, as Minister of Science and Technology, the start of my endeavours in the crossings of art, science and technology. Knowing that I could always count on his support was indispensable throughout the years. Agostinho da Silva (1906-1994) illuminated me forever when we met. I was only 13 years old. Lusitana Fonseca is my oracle of technology. I thank Mario Campolargo for believing in me. I thank Ralph Dum for his endless efforts in making happen new policies for the integration of artists in research in the European Union. I thank Peter Friess for being my eternal fellow in artistic endeavours. I thank Robert Madelin for being visionary and for opening the door for the integration of artists in research in the EU. I thank NATO Assistant Secretary General Wayne Bush, Bogdan Lazaroe and Maria L’Episcopo, for having created and for implementing the NATO Arts Framework. I thank my country, Portugal and the Portuguese Government, for its continuous support. A special thanks to the Portuguese Ambassador to NATO Luis de Almeida Sampaio. 4 I thank Paulo Maria Rodrigues for being my brother of soul. I thank Phill Niblock for being a wonderful human being. Rolf Gehlhaar is the Master. 5 Author’s declaration At no time during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Doctoral College Quality Sub-Committee. Work submitted for this research degree at the Plymouth University has not formed part of any other degree either at Plymouth University or at another establishment. This research has been conducted under a formal agreement with Planetary Collegium. The study was financed with the aid of sponsorship from the FCT - Fundação para a Ciência e a Tecnologia (Portugal). Relevant scientific seminars and conferences were regularly attended at which work was often presented; several European-funded projects and institutions were visited for consultation purposed. Word count of main body of text: 49.611 Signed Date 05/09/2017 6 Abstract Luis Miguel Girão Artistic Modulation of Consciousness by Bioelectromagnetic Stimulation The thesis demonstrates why the application of bioelectromagnetic stimulation as a medium of artistic expression allows for the production of new and unprecedented realisations of integrative art. Furthermore, the modulation of consciousness in human beings relating with such realisations is argued to be the core of a new practice of research resulting from the technological confluence of Philosophy, Art and Science. The Brunelleschi Experiment is examined in order to establish the assumption that one of the fundamental characteristics of Art is to impact consciousness of those interacting with its forms. The aspects of disembodiment of the previously referred experiment, instrumental in provoking such impact, are argued to be consistent with those found in the philosophy and practice of Fernando Pessoa. The practice of the Portuguese philosopher is presented as proto-foundational grounds of the new research practice proposed. The recent findings of Olaf Blanke, specially the ones regarding the induction of out-of-body experiences by bioelectromagnetic stimulation are reassessed as previous technological foundations of the new artistic realisations proposed. 7 The practice of art was an instrumental part of the research and is therefore described as a methodology to access consciousness and generate knowledge, a thinking process. Research was undertaken in the context of two projects: Sensitive Spheres and Collectron. Both projects are representations of the social implications of perceiving human beings as electromagnetic manifestations. In the context of these projects, Bioelectromagnetism is understood as the study of the intersections between biological entities and the electromagnetic spectrum. Each project represents a culture of interactions between biological beings, including their spiritual dimension, in which art plays a fundamental role in creating alternative forms of communication as well as in congregating and mediating consciousnesses at a collective level. In conclusion, Homo Conscientis, an audiovisual integrative experience applying bioelectromagnetics, is presented as the first manifestation of the new practice proposed. Both its technical aspects and the observations resulting from its application have been thoroughly described. 8 List of contents Acknowledgements...............................................................................................3 Abstract.................................................................................................................7 List of illustrations..............................................................................................12 Introduction.........................................................................................................14 1. Artistic Practices.............................................................................................21 1.1 The practice of art as a thinking process....................................................22 1.2 Abstraction or spirituality in art.................................................................31 1.3 Artistic modulation of consciousness........................................................34 1.5 Art is life (Integration)...............................................................................47 2 Bioelectromagnetics.........................................................................................54 2.1. Biological entities and the electromagnetic spectrum...............................56 2.2 Inherent Collective....................................................................................68 2.3 Neuromodulation.......................................................................................72 2.4 The cognitive approach.............................................................................80 2.6 Embodiment and induced out-of-body (OBE)...........................................84 2.7 My brain is all over my body.....................................................................86 3. Consciousness and Research...........................................................................93 3.1 Consciousness...........................................................................................96 9 3.1.1 A definition of consciousness.............................................................97 3.1.2 Accessing consciousness for knowledge generation.........................116 3.2 Art practice as a thinking process............................................................120 3.3 Art vs Science in knowledge generation..................................................124 3.4 OBE practice as research methodology – anthropological case study.....133 3.5 Integration of subjectiveness in research – art practice: a solution for the Hard Problem................................................................................................141 4. Homo Conscientis – artistic practice-based research model..........................146 4.1. Artist as maker of technology.................................................................148 4.2 Sensitive Spheres.....................................................................................149 4.3 Collectron................................................................................................160 4.5 Executive art – practicalities of research and policy
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