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I'll Keep You Warm and Safe in My People

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I'll Keep You Warm and Safe in My People I’LL KEEP YOU WARM AND SAFE IN MY PEOPLE ZOO - Martina Menegon 2016 thanks to the internet WHAT’S THIS ALL ABOUT? - this is just an intro, not to get lost In an interview with PBS in 2011, Dr. David Hanson asked his android modelled after sci-fi writer Philip K Dick1 if robots will take over the world. The robot replied saying: “Don’t worry, even if I evolve into Terminator, I’ll keep you warm and safe in my people zoo, where I can watch you for ol’ times sake”. The title quotes this answer, and exemplifies the fear of technology, of being controlled by it, as well as the comfort we may gain from it. I’LL KEEP YOU WARM AND SAFE IN MY PEOPLE ZOO deals with the perception of the human body in the digital age. It is a multimedia installation that creates a dialogue between the physical and the digital, a reflection on what is the body after it has been transferred into a virtual state. It is about digitalising the human body, transforming it into a 3D model, an avatar and bringing it back to the physical reality. It seeks this real-virtual connection through the two main characteristics of an avatar: the 3D shape and its UV texture map2. 1 Philip K. Dick (1928 - 1982), american novelist, essayist, and philosopher. He authored many books, including Do Androids Dream of Electric Sheep, that inspired the film Blade Runner 2 UV mapping is the 3D modeling process of projecting a 2D image to a 3D model’s surface. A UV map describes what part of a texture should be attached to each polygon in a model 3 FROM WHERE IT ALL STARTED: THE AVATAR - meanings and definitions Avatar, or embodiment of something: somebody who embodies, personifies, or is the manifestation of an idea or concept3. The term avatar etymologically derives from the Sanskrit world avatāra, which refers to an incarnation, a bodily manifestation, of a deity, an immortal being. It means a “descent”, a “down-coming” of hindu gods and goddesses, the medium for accessing the physical and mortal world of humanity. In the context of computer technology, the term avatar has various competing definitions. It was coined in 1985 by Richard Garriot4 for the computer game Ultima IV: Quest of the Avatar. In the game, Garriot wanted the player to be responsible for the character’s actions, to achieve this he felt the player had to play him/herself. The more common mean of avatar, indicating an online virtual body, was popularised by Neal Stephenson’s cyberpunk novel Snow Crash, in which the term describes virtual simulated humans and their reality, the Metaverse. In the broadest sense, an avatar is the “user’s representative in the virtual universe”5, “virtual constructs that are controlled by human players and function as a means of interacting with other characters”6, “a virtual, surrogate self that acts as a stand in for 3 As in Microsoft Encarta’s general dictionary 4 In other readings it is stated that the term avatar (as use in computing) was first used in 1985 by Chip Morningstar, a user of the first avatar environment created by LucasFilm called Habitat 5 Filiciak, M. Hyperidentities in The Video Game Theory Reader 6 Berger, A. A. Video Games: A Popular Culture Phenomenon 4 our real-space selves, that present the user”7. It is a representation of a user8, that can be altered9. According to Wikipedia, an avatar is a graphical representations of the user, it can have three- or two-dimensional forms, and can also refer to a text construct. So in computing the sanskrit connotation of avatar is reversed: the original “descent” to the corporeal (embodiment) becomes an “ascent” to the immaterial virtual space (disembodiment). All those definitions describe theavatar as a virtualisation of the body, and implicate that the user, by engaging with an avatar, becomes something different, something better. The definition of avatar proposed by Second Life, the popular online virtual world developed by Linden Lab in 200310 that an avatar is the digital persona you create and customise, is the 3D version of yourself or of anyone you want to be, exemplifies the optimistic view of virtual worlds as utopian places. Although this is the most common and popular definition of avatar, it is also a quite superficial one, as it does not take in account the recent hyper-usage of online environments. Digital media researcher Beth Coleman states that today’s lives are increasingly framed by real-time, visual and simulated media and that a sense of connectivity is deeply incorporated into our lives. This causes what she calls “x-reality”, a continuum between online and offline11, a constant exchange between virtual and real, in which virtual reality becomes an augmentation of our actual 7 Laetitia Wilson definition as in Waggoner, Z. My Avatar, My Self 8 see https://en.wikipedia.org/wiki/Avatar_(computing) 9 Thomas Goldberg distinguishes between “avatars” and “agents”. He defines a virtual avatar as any “representations of real people in computer-generated environments” and agents as “any semiautonomous piece of software that assume some visual embodiment”. As in Andrews, P. Avatar and Self: a rhetoric of identity mediated through collaborative role-play 10 see https://en.wikipedia.org/wiki/Second_Life 11 Coleman, B. Hello Avatar: Rise of the Networked Generation 5 world. Coleman broadens the concept of avatar to all “images, text and multimedia that make up our identities as networked subject”. The avatar is not a virtualisation but an actualisation of the self12, it is made of all real time digital extensions of the subject, it moves from a graphical representation, to an extension, a prothesis of the self, an alter-ego13, a “second self”, something so close to oneself to appear almost a part of it14. Body extensions are closely connected to the figure of the cyborg15, a hybrid of flesh and machine. Today’s everyday interaction with, and dependance on, networked media16 proposes a new form of cyborg, a metaphoric one, made of a complex assemblage of the physical and the virtual. In fact, like the cyborg, the figure of the avatar is both real and fictional17, it is a virtual prothesis that occupies online cyberspaces. In Understand Media, Mcluhan sees new media forms as technological extension of man18. Rather than a replace for lost 12 Coleman, B. Hello Avatar: Rise of the Networked Generation 13 Latin for “the other I” 14 Coleman states: “Media usage changes the user. With each shift in automation, simulation and transmission, we discover not only new technologies but also new facets of ourselves” 15 Short for cybernetic organism. The term was coined by Manfred Clynes and Nathan Kline in the 60s, when they wrote an article about the need for self-regulating cybernetic human- machine systems to enable human space exploration 16 Coleman use the term networked media to describes technologies connected to a distributed transmission network, i.e the internet 17 As Donna Haraway explains in her Cyborg Manifesto: “we are all chimeras, theorised and fabricated hybrids of machine and organism; in short, we are cyborgs. The cyborg is a condensed image of both imagination and material reality” 18 All media are extensions of some human faculty - psychic or physical. The book is an extension of the eye.. clothing, an extension of the skin” in Mcluhan, M. Understanding Media 6 functions, those prothesis enhance, extend, amplify human faculties, “affecting the nature and scale of human consciousness and subjectivity”19. Jeremy Bailenson and Jim Blascovich define an avatar as “a perceivable”20 digital representation in virtual environments. Perceivable, meaning that an avatar is something we can perceive, feel, sense. 19 Cleland, K. Prosthetic Bodies and Virtual Cyborgs 20 Bailenson, J. and Blascovich, J. Infinite Reality: Avatars, Eternal Life, New Worlds, and the Down of the Virtual Revolution 7 Robbie Cooper Alter Ego: Avatars and their creators 2007 8 LaTurbo Avedon Self-Portrait 2015 9 DREAMS OF FRAGMENTATION - incorporating the virtual: the mirror image and the uncanny Avatars became an assemblage of physical and virtual self, a symbiotic amalgamation of human and computer. Scott Bukatman calls this new subjectivity and identity created through the human-computer hybridisation terminal identity, “an unmistakably doubled articulation in which we find both the end of the subject and a new subjectivity”21. Olaf Blanke, neurologist of the École polytechnique fédérale de Lausanne in Switzerland, says it just takes a few minutes in a virtual environment to override the perception of what our body is and where it is22. Behaviours can change for hours, days or even months. During his researches, Blanke discovered that the temporo-parietal cortex23 lights up at the moment we identify with a virtual avatar, just like when we watch ourselves in a mirror. He also noticed that, like a sort of phantom limb pain, a physical response can be created through virtual simulation24. In The Media Equation: How People Treat Computers, Television and New Media Like Real People and Places, Byron Reeves and Clifford Nass argue that our “old brains” can’t yet distinguish between the real physical world and the virtual one. Even when 21 Bukatman, S. Terminal Identity 22 Blanke, O. First Person Experience of Body Transfer in Virtual Reality 23 The part of our brain that integrates touch and vision into a coherent perception 24 Sarah C.P. Williams in her article Me, Meet Virtual Me describes Blanke’s experiment, saying after a while you engage so much with the virtual avatar you start to be it, and if a hand pokes this other-you, “you’ll swear you feel it on your arm” 10 consciously aware of the virtual nature of an image, we have the tendency of integrate it and treat it as real, physical.
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