Technoetic Magick: Explorations of the uncanny double as a noetic and magickal system through the complementary lenses of AI image-generation and AR

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Technoetic Magick: Explorations of the uncanny double as a noetic and magickal system through the complementary lenses of AI image-generation and AR

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Author(s): Lila Moore

Publication date (Print): July 2024

Conference name: Proceedings of EVA London 2024 (EVA 2024)

Conference theme: Since 1990, the EVA London Conference has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences in the field of digital visualisation. The papers and abstracts in this volume cover areas such as the arts, culture, heritage, museums, music, performance, visual art, and visualisation, as well as related interdisciplinary areas, in combination with technology. The latest research and work by early career researchers, established scholars, practitioners, research students, and visual artists, can be found in this volume, published in full colour.

Conference date: 8–12 July 2024

Keywords: AI art, AR art, Technoetic arts, Freud, Uncanny double, Maya Deren, Tomb of Perneb, Kandinsky, Imaginal, Psychospiritual

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Lila Moore

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Publication date: July 2024

Publication date (Print): July 2024

Pages: 232-239

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[0001]Cybernetic Futures Inst.

Alef Trust – LJMU

Old Gloucester Street, London, UK

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DOI: 10.14236/ewic/EVA2024.42

SO-VID: 2c57dd62-b21f-4601-88fb-f72c272bd4a2

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2024

Conference acronym: EVA 2024

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Conference location: London

Conference date: 8–12 July 2024

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2024.42

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

Ascott. R. (1999) Seeing double: Art and technology of transcendence. In R. Ascott (Ed.), Reframing consciousness (pp.66–71). Exeter, UK: Intellect Books.
Ascott, R. & Shanken, E. A. (eds.) (2003) Telematic Embrace Visionary Theories of Art, Technology and Consciousness, Berkley, Los Angeles, London: University of California Press.
Ascott, R. (2009) Syncretic reality: Art, process, and potentiality. Artigo, 2. Available from: https://www.academia.edu/80513796/Syncretic_Reality_Art_Process_and_Potentiality (7 March 2024).
Campos, I.S. (2017) The ecology of Kandinsky's abstraction: A trembling world of beings and things. symplokē, 26(1-2). 237-313.
Clark, V.A., Hodson, M. and Neiman, C. (eds.) (1984) The Legend of Maya Deren: Volume 1. New York: Anthology Film Archives, Film Culture.
Clark, V.A., Hodson, M. and Neiman, C. (eds.) (1988) The Legend of Maya Deren: A Documentary Biography and Collected Works. New York: Anthology Film Archives, Film Culture.
Corbin, H. (1972) Mundus imaginalis or the imaginal and the imaginary. https://www.amiscorbin.com/en/bibliography/mundus-imaginalis-or-the-imaginary-and-the-imaginal/ (retrieved 7 March 2024).
Deren, M. (1946) An Anagram of Ideas on Art, Form and Film, NY: The Alicat Book Shop Press.
Freud, S. (1920, 2015) Beyond the Pleasure Principle. Mineola, New York: Dover Publication.
Freud, S. (2003) The Uncanny. London: Penguin Books. (Originally published in1919)
Geis, T. (2013) Death by amnesia: Maya Deren, Egypt, and “racial” memory. Dada/Surrealism, [ejournal] 19(1). Available from: https://ir.uiowa.edu/dadasur/vol19/iss1/11/ (7 March 2024).
Haughton, H. (2003) Introduction. In The Uncanny. Freud, S. London: Penguin Books. pp. i-xxiii.
Hoffmann, E.T.A. (2013) The Sandman. London: Alma classics.
Introvigne, M. (2015) The sounding cosmos revisited: Ringbom, Kandinsky, the theosophical tradition and religious/artistic innovation. [PowerPoint presentation] Available from: http://www.cesnur.org/2015/Ringbom.pdf (15 December 2023).
Jung, G. C. (1978). Man and his Symbols. London: Picador.
Kandinsky, W. Lindsay, K.C. and Vergo, P (1994). Kandinsky: Complete Writings on Art. Cambridge: Da Capo Press.
Laganà, L. (2020) Was Malta a place for the veneration of a Mother Goddess? The Journal of Archaeomythology, 9.15-37.
Lichty, P. (n.d.) Patrick Lichty creates AI generated rugs with Playform, featured on Art Mine. Playform. Available from: https://www.playform.io/editorial/patrick-lichty
(7 March 2024).
Magick (no date). Harvard University’s Pluralism Project. Available from: https://pluralism.org/magick (15 December 2023).
Maravelia, A.A. (2003) Cosmic space and archetypal time: depictions of the sky-goddess nut in three royal tombs of the new kingdom and her relation to the milky way. Göttinger Miszellen, 197. 55-72.
Meshes of the Afternoon. (1943) [film] Directed by Maya Deren. USA.
Moore, L. (2018) The shaman of cybernetic futures: art, ritual and transcendence in fields of the networked mind. Cybernetics & Human Knowing, 25 (2-3). 119–141.
Moore, L. (2019) Tombs and reels of consciousness: The aesthetics that interlink ancient ritualistic artefacts and digital, augmented and virtual reality. In: Weinel, J., Bowen, J.P., Diprose, G., Lambert, N. (eds) (2019) EVA London 2019: Electronic Visualisation and the Arts, pp. 155-161. DOI: 10.14236/ewic/EVA2019.30
Mulvey, L. (2006). Death 24x a second: Stillness and the moving Image. London: Reaktion Books. Kindle Edition.
Rank, O. (1979). The double: A psychoanalytic study. New American Library. (Originally published in 1925).
Smith, C. (2020). Living in parallel: Adventures in double consciousness and pluralism. In Weinel, J, Bowen, JP, Diprose, G and Lambert, N. (eds.) Proceedings of EVA London 2019. British Computer Society. DOI:10.14236/ewic/EVA2020.69

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[1] Ascott. R. (1999) Seeing double: Art and technology of transcendence. In R. Ascott (Ed.), Reframing consciousness (pp.66–71). Exeter, UK: Intellect Books.

[2] Ascott, R. & Shanken, E. A. (eds.) (2003) Telematic Embrace Visionary Theories of Art, Technology and Consciousness, Berkley, Los Angeles, London: University of California Press.

[3] Ascott, R. (2009) Syncretic reality: Art, process, and potentiality. Artigo, 2. Available from: https://www.academia.edu/80513796/Syncretic_Reality_Art_Process_and_Potentiality (7 March 2024).

[4] Campos, I.S. (2017) The ecology of Kandinsky's abstraction: A trembling world of beings and things. symplokē, 26(1-2). 237-313.

[5] Clark, V.A., Hodson, M. and Neiman, C. (eds.) (1984) The Legend of Maya Deren: Volume 1. New York: Anthology Film Archives, Film Culture.

[6] Clark, V.A., Hodson, M. and Neiman, C. (eds.) (1988) The Legend of Maya Deren: A Documentary Biography and Collected Works. New York: Anthology Film Archives, Film Culture.

[7] Corbin, H. (1972) Mundus imaginalis or the imaginal and the imaginary. https://www.amiscorbin.com/en/bibliography/mundus-imaginalis-or-the-imaginary-and-the-imaginal/ (retrieved 7 March 2024).

[8] Deren, M. (1946) An Anagram of Ideas on Art, Form and Film, NY: The Alicat Book Shop Press.

[9] Freud, S. (1920, 2015) Beyond the Pleasure Principle. Mineola, New York: Dover Publication.

[10] Freud, S. (2003) The Uncanny. London: Penguin Books. (Originally published in1919)

[11] Geis, T. (2013) Death by amnesia: Maya Deren, Egypt, and “racial” memory. Dada/Surrealism, [ejournal] 19(1). Available from: https://ir.uiowa.edu/dadasur/vol19/iss1/11/ (7 March 2024).

[12] Haughton, H. (2003) Introduction. In The Uncanny. Freud, S. London: Penguin Books. pp. i-xxiii.

[13] Hoffmann, E.T.A. (2013) The Sandman. London: Alma classics.

[14] Introvigne, M. (2015) The sounding cosmos revisited: Ringbom, Kandinsky, the theosophical tradition and religious/artistic innovation. [PowerPoint presentation] Available from: http://www.cesnur.org/2015/Ringbom.pdf (15 December 2023).

[15] Jung, G. C. (1978). Man and his Symbols. London: Picador.

[16] Kandinsky, W. Lindsay, K.C. and Vergo, P (1994). Kandinsky: Complete Writings on Art. Cambridge: Da Capo Press.

[17] Laganà, L. (2020) Was Malta a place for the veneration of a Mother Goddess? The Journal of Archaeomythology, 9.15-37.

[18] Lichty, P. (n.d.) Patrick Lichty creates AI generated rugs with Playform, featured on Art Mine. Playform. Available from: https://www.playform.io/editorial/patrick-lichty

[19] (7 March 2024).

[20] Magick (no date). Harvard University’s Pluralism Project. Available from: https://pluralism.org/magick (15 December 2023).

[21] Maravelia, A.A. (2003) Cosmic space and archetypal time: depictions of the sky-goddess nut in three royal tombs of the new kingdom and her relation to the milky way. Göttinger Miszellen, 197. 55-72.

[22] Meshes of the Afternoon. (1943) [film] Directed by Maya Deren. USA.

[23] Moore, L. (2018) The shaman of cybernetic futures: art, ritual and transcendence in fields of the networked mind. Cybernetics & Human Knowing, 25 (2-3). 119–141.

[24] Moore, L. (2019) Tombs and reels of consciousness: The aesthetics that interlink ancient ritualistic artefacts and digital, augmented and virtual reality. In: Weinel, J., Bowen, J.P., Diprose, G., Lambert, N. (eds) (2019) EVA London 2019: Electronic Visualisation and the Arts, pp. 155-161. DOI: 10.14236/ewic/EVA2019.30

[25] Mulvey, L. (2006). Death 24x a second: Stillness and the moving Image. London: Reaktion Books. Kindle Edition.

[26] Rank, O. (1979). The double: A psychoanalytic study. New American Library. (Originally published in 1925).

[27] Smith, C. (2020). Living in parallel: Adventures in double consciousness and pluralism. In Weinel, J, Bowen, JP, Diprose, G and Lambert, N. (eds.) Proceedings of EVA London 2019. British Computer Society. DOI:10.14236/ewic/EVA2020.69

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Technoetic Magick: Explorations of the uncanny double as a noetic and magickal system through the complementary lenses of AI image-generation and AR

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