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Copyright Statement Copyright statement 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. Polyphibianism Evolving Transdisciplinarity into an Imaginary Organism of Living Knowledge by Živa Ljubec a thesis submitted to Plymouth University in partial fulfilment for the degree of Doctor of Philosophy April 2014 Abstract Živa Ljubec Polyphibianism Evolving Transdisciplinarity into an Imaginary Organism of Living Knowledge Transdisciplinarity emerged from the urge to grasp the elusive knowledge in the most fertile zone in between and beyond disciplines that escapes even the most elaborate interdisciplinary operations. While interdisciplinary protocol enables experts to operate within foreign disciplines, in the extreme case as diverse as art and science (by inviting artists into scientific departments and vice versa), the production of knowledge remains confined to particular domains. To transcend these confinements and access the knowledge that evades institutionalisation Basarab Nicolescu’s Manifesto of Transdisciplinarity sets up conditions for an open structure to be grown outside the current compartmentalisation into a living knowledge. This thesis imagines a possible evolution of transdisciplinarity into knowledge to be lived internally rather than learnt externally in order to overcome the anxiety in transcending the established culture of disciplinary research. By entering the transdisciplinary zone, the identity of experts-specialists dissolves, even the crudest separation into artists and scientists becomes obsolete. From the illusion of losing control over knowledge arises the fear of a return to archaic, mystic or even shamanic ways of knowing. Far from proposing a return to shamanism in its ancient forms this thesis imagines the way of polyphibianism – an imaginary solution to navigate efficiently the protoplasmic state of knowledge that would be indigenous to culture of disciplinary researchers. With every significant discovery the disciplinary researchers already intuitively trespass into the very zone that the Manifesto of Transdisciplinarity invites them to enter intentionally. From examination of documented introspective inquiries into their act of discovery the thesis infers the necessary sensibilities and adaptabilities of the individuals to cross the borders of their disciplines. Their seemingly lost identity is temporarily restored with the term polyphibian (analogous to amphibian) designating their ability to survive and explore multiple environments. With each change of circumstances in research a polyphibian adapts by swiftly reinventing its instinctive instruments, mutating its organs of knowing, indifferently to conventional habits of thought. Through their introspective writings this thesis investigates the polyphibic aptitude of Henri Poincaré, Henri Bergson and Marcel Duchamp to scout at the periphery of physics, metaphysics and ‘pataphysics, to intuitively anticipate the role of chance, chaos and complexity in both arts and sciences. A threshold of complexity has to be surpassed in order to bring the current apparatus of knowledge to life. Bergson’s insight on laughter and dreams suggests how intellect could transcend itself. The thesis proposes to consider laughter as faculty that could induce self-awareness in the intellectual apparatus while dreams are considered to facilitate self-organisation of intellect on higher orders of awareness. In Deleuzian manner of mutating Bergson’s work into Bergsonism, polyphibianism is a mutation in transcribing the code of Creative Evolution where Bergson insisted on interdependency between the theory of knowledge and the theory of evolution. The scholarly dispute on Bergsonian and anti-Bergsonian tendencies present in Marcel Duchamp’s work is revisited in the thesis by interpreting the higher dimensional Bride as a polyphibic organism of living knowledge with access to higher orders of awareness, able to guide the Bachelor’s apparatus of mechanical production and preservation of knowledge out of its predicament. Informed by peculiar Duchampian experiments that challenged both the domain of art and science the research projects in this thesis consist of an intervention at CERN that tested the impenetrability of institutionalised art-science collaborations and installation of the Interval of Suspended Judgement with high mathematical precision at the threshold between physics and ‘pataphysics. With these projects the problems of categorising researchers into artists and scientists are revealed. As Deleuze suggested, to effectively formulate the problem, to realize it in multiplicity of contexts, a new concept must be invented, a new organism must be conceived. This thesis gave birth to an imaginary organism of living knowledge in order to relieve the unnecessary anxieties and to fully engage in transdisciplinary research. List of contents 1. INTRODUCTION 3 1.1. A note on temporary terminology 3 1.2. Formulating the thesis: why polyphibianism? 5 1.2.1. The context of two cultures and transcultures 5 1.2.2. The challenges of transdisciplinary practice 7 1.2.3. Supplanting frameworks of disciplinary research 11 1.3. Thesis Outline: a guide to polyphibianism 14 1.3.1. The manifestos – introduction to the second chapter 14 1.3.2. The methods – introduction to the third chapter 22 1.3.3. The actions – introduction to the fourth chapter 34 2. LITERATURE REVIEW 44 2.1. Across disciplines: from meta- to ‘pata- 44 2.2. Manifesto of transdisciplinarity 52 3. RESEARCH METHODOLOGY 104 3.1. Anticipating chaos: the method of introspection 104 3.1.1. Quality over quantity, smooth over striated 104 3.1.2. Canned chance – a standard for exceptions 111 3.2. Aesthetic Anaesthesia: the method of indifference 117 3.2.1. Chance and choice – spontaneous aesthetics of discovery 118 3.2.2. Aesthetic sensibilities of a serious artist 122 3.3. Inventing concepts – conceiving organisms 134 3.3.1. Bergson, Bergsonism, Polyphibianism 134 3.3.2. Bergson – McLuhan: sample pseudo organism 149 3.3.3. Bergson – Duchamp – Poincaré: “pseudo all in all” 152 4. RESEARCH ACT AND ITS EVOLUTION 164 4.1. Participating in a creative evolution 164 4.1.1. Essay on laughter: knowledge is a laughing matter 164 4.1.2. Essay on dreams: awakening imaginary knowledge 188 4.1.3. Creative evolution of living knowledge 205 4.1.3.1. Theory of knowledge – theory of evolution 205 4.1.3.2. Coming into being – growing into knowing 213 4.1.3.3. Newborn in front of every experience 218 4.1.3.4. Undefinable individuality 223 4.1.3.5. Beyond fractals – phractals 229 4.2. Participating in a creative act 236 4.2.1. Artist – spectator 239 4.2.2. Artist – curator – spectator 250 4.2.3. Intervention ASCO2.T AT.LAST 255 4.2.3.1. ASCOT vs. ASCO2.T – round 1 – myths 257 4.2.3.2. ASCOT vs. ASCO2.T – round 2 – uncertainties 269 4.2.4. Interval of Suspended Judgement 289 4.2.5. The Box of 1914 294 4.2.6. The Box of 2014 298 4.2.7. Retinal and non-retinal detectors: medium glass 305 5. CONCLUSION 315 5.1. Imagining polyphibianism: reaffirming research thesis 315 5.2. Inventing polyphibic organs: resolving research questions 317 5.3. Awakening polyphibic awareness: reassessing research approach 324 5.4. Limitations of research: resistance to representation 330 5.5. Future research: further evolution 332 APPENDIX A: TEMPORARY TERMINOLOGY 337 APPENDIX B: CURATING A BOX OF NOTES 347 BIBLIOGRAPHY 355 List of illustrations FIGURE 1: INTERVAL OF SUSPENDED JUDGEMENT ................................................................. 293 FIGURE 2: SMALL GLASS, UNFRAMED ......................................................................................... 309 FIGURE 3: SMALL GLASS, FRAMED ................................................................................................ 310 Acknowledgements This thesis would not be possible in this form without the unique and unprecedented Planetary Collegium and its founding father, Roy Ascott, who provided a fertile safety zone for speculative art research. His visionary texts that are only gaining relevance with time are put to practice in his way of mentoring and stretching the boundaries to which art can contribute to and reform the production of knowledge. Roy’s devotion as the official first supervisor surpassed all my expectations – from the relentless testing of my thesis at every given opportunity to the enthusiastic support and encouragement that is needed in any unconventionally pursued research, not to mention his great sacrifice to serve in the intervention ASCO2.T AT.LAST as a readymade assisted. Many thanks go as well to the two secondary supervisors James Gimzewski and Robert Pepperell: Jim, for sharing his unique approach to his exciting research projects and supplying further evidence that scientists spontaneously trespass the conventions of science and Rob, whose bright way of writing on posthumanist and postdigital topics was inspiring me all along. Thanks must also go to tutors Mike Phillips and Jane Grant for wonderful tutorial and after-tutorial conversations. I am also grateful to David Peat for introducing me to intricate relationships between western and non-western science, to potential ways of rethinking modern science and how they relate to ancient science, to Derrick de Kerckhove for comprehensive navigation through McLuhanism and Linda Dalrymple Henderson for
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