Between the 19/10/10 and 26/10/18

I.On sensory computation processes.


How can I sense I am being while computing sensory feelings?


It’s somehow comic how "phenomenology" is so recurrent in computational arts/digital practices. Comic (Cosmic?). Comic, considering that I've had difficulties physically sensing while being immersed in such computational environment. Leading me to this wander: how can we produce new forms of sensitivity induced in computational ecosystems/ human interaction with machines.
A seated designer using a computer doesn't seem to have the most ecstatic sensory feelings one could experience working in nature.
Is the creative process of applied artists a new form of labor?
(For me: "yes")
Within the realm of technological acceleration, how can we protect ourselves from becoming only digital proletarians meanwhile addressing such issue within our work? How can we avoid the psychological and physical alienation of computerized practices? I have this intuition that language, poetry, accidents, sensuality and failure could be used as tools or raw material.
Computational materiality as a cure the ill-sensation of the prostetic?



II. On emotional rational guilt.


I wonder if there is such a thing as a Cartesian guilt?
Even though I attempt to generally step away from what I believe to be Cartesian dualism, some of my critical reflexes are stuck "in" there.
(Would it have something to do with the French academic system where students read Descartes and Pascal as a literature subject?).
Anyway, my first reflex when I read Gert Germeraad’s ‘Rationality, Intuition and Emotion - Exploring an Artistic Process‘, on JAR was to label it as “less good” then “The character thinks ahead: creative writing with deep learning nets and its stylistic assessment” by Roger T. Dean and Hazel Smith on Leonardo. Its linguistic style, methodology and context of accessibility seemed less legitimate as it was talking about emotions rather then scientific observations. I can relay to those reflexes as being a form of shame while trying and appreciate things about emotions, perceptions, physicality and sensibility.
I guess this is why I am so triggered by the Idea of merging both techno-sciences and sensory, bodily and poetic sensations within my practice. 



III. Randoms.


I stumbled upon strings of thoughts which could be relevant in the future? (Could, might, might not, dunno):

_ Body as a language instrument to produce poetic and un-creative writing. A breech into the Cartesian distinction between body and mind facilitated by technologies.

_ Something about trees and landscapes generating an unfamiliar language ( Mixing geological data-sets like vibrations, heat, wind…) to generate geometrical forms and phonemes = shaping a new language. 


_ Within this constant acceleration, if an artistic project relays on technology, how can one make work which will transcend its planned obsolete condition (physically and theoretically)?

_ How does non-experts perceive our art while it deals frequently with the very technicality of the tools we use.
_What remains of the aesthetical experience and the notion of sublime, epiphany in computational arts?