Readers, follow this pathway on the WE drive: Archive of Humanity > Art + Science > Space Navigation > Visual Methods > Mapping > Correlational System of Analysis > CriticalCreative Practitioners > Unnamed Candidates for L.I.S.A. Artist Residency in Space

"The Talk Exchange" by Brianna Strong on October 17th, 2041

The Facts

Earlier in the year, the publicly funded Google PLEX Space Program (G.P.S.P.) announced that eight unnamed candidates for the Laser Interferometer Space Antennae (L.I.S.A.) Artist Residency in Space had been chosen for consideration. The incentive behind the controversial programming lies in the need to have criticalCreative professionals who are able to interpret, as of now, incomprehensible field readings of gravitational wavelengths from L.I.S.A. and translate them using both a medium and a method that maintains a sound Correlational System of Analysis (C.S.A).The organization has chosen to keep the identities of the individuals unsaid until a jury of physicists, technologists, astronauts, cultural philosophers, art critics and inventors with record holds on notable patents have reached a final decision. The jury process entails a thorough and complete study of each C.S.A. presented by the candidates over a period of 10 months. Should the panel announce that a C.S.A. has been selected it would indicate that the theory and practice of the superior criticalCreative practitioner carries a unique logic that promises to yield inferences through findings that can be translated in a more tangible way to observers on earth. Until a selection has been made the jury panel has released the civic origin and predominate profession of each candidate to ensure a ongoing dialogue with the investing public. Of the information provided, there is an anonymous composer-drawer-physicist from Calgary, Alberta in this historic running.

An Interpretation

An artist residency aboard a space based observatory is an extraordinary addition to the archive of humanity. Interestingly, the lead inventor on the jury has nicknamed the unnamed candidate “CYBIRD”. An appropriate hybrid name considering that the artist-astronaut-ambassador symbolizes a point of a convergence for art and science and, should this historical moment be forced to its crisis, notion towards a gentle paradigm shift. Not only has the privatization of space flight been dominated by publicly and commercially funded organizations, the two founding bodies exhibit an intersection between communication and inquiry. The joint venture of Google's Space Program and PLEX (Programming Language for EXchanges) to undertake this mission demonstrates, within itself, a progression from an individualistic corporate mindset to collaborative enterprise. The common and critical denominator for the success of Google and PLEX, independent of the other, is social and intellectual exchange and information capital. The core values of Google are rooted in maintaining an expanse and an accessibility of information for users, alongside a renewed sense of accountability with a crowd source funding campaign from a global public. Exchanges among people play a critical role in the success of the services and products that PLEX provides. The very nature of programming code that is generated by events taking place in real time carries a reliance on interpersonal activity and communication. It is important to note that not only does the unnamed candidate symbolize a shared horizon line for art and science, the conjoined endeavours of two companies stand for an investment in connecting people and ideas. Here, there are hopeful returns in the talk exchange.

A curious feature about the information released by G.P.S.P. is that the geographic location and the prevailing pursuits of each criticalCreative practitioner was the only information disclosed. It may be a more relevant endeavour as a reader to understand the evolving cultural context that the candidate originated from instead of focusing on the candidate her/his self and how their situation could lend itself to particular trajectories. It may be useful to ask questions such as how is Calgary, as a collective cultural enterprise, able to put forth a promising ambassador for such a historically significant and symbolic mission? What shifts in the past three decades could have prompted Calgary to become a helpful place for ideas and not just a hopeful one?

The late 2010's brought a promising persuasion towards a paradigm shift on a global scale through innovations in technology that had a trickle down influence on visual culture in local contexts. In Calgary, a 3D printing manufacturing revolution allowed a private symbolic space, that was once curated by individuals in a digital realm, to be made manifest in physical space. Essentially, the new technology enabled each individual to transition from a private curator to a personal producer by allowing them to share a survey of personal artifacts instead of playlists or clouds of information. This private curation would eventually resemble the mini-retrospective of an individual's aesthetic preferences placed among the objects that serve, in form and function, as an extension of themselves. The reformatting of dialogue in a social, critical and inquisitive way that could surround the produced items also followed a transition from a digital landscape to a spacetime experience. Instead of garnering 'Likes' in a virtual realm from other disembodied participants on the internet, citizens bestowed value onto privately produced, three dimensional objects by a show-telling to a gathering. This occurrence is, intuitively, a natural and sentimental evolution in bestowing meaning onto things with a subjective value and conveying the significance to others so that they may carry and propagate that prescribed importance for a continuing history.

The commonality of the above situation reenacted the relevance of a relational aesthetic by a public and conclusively demonstrated a shift is cultural customs. It may also account for the reactionary death of the traditional white cube gallery by 2020, an increase in the attendance at museums and the building of such venues for an abundance of cultural archives. During this time, urban centres, including Calgary, saw the birth and ongoing development of relative time and relational space experiences in a variety of forms that provide an elevated experience of the relational aesthetic. In other fields, the relational movement also created a pathway for correlative technologies. For instance, one experiment focused on programming generated from probability equations derived from quantum logic enabled a coherent social exchange between two robots. More remarkably, in the experiment, a relatable emotional climate organically formed when specific moods, sensations and events where introduced. Scientists achieved this, in part, through variable views that could render the esoteric nature of a single history of human being and through the implementation of entangled properties that come with a specific interpersonal chemistry. These qualities and variables can be mapped out within a predetermined range on a field and represent only two of innumerable innovations unique to operating systems in correlative technologies.

How did this technological shift lead to the defining and development of Correlational Systems of Analysis (C.S.A.'s)?

 The wide-spread access to affordable 3D printers prompted a manufacturing revolution that sparked a progressive movement by returning to embodied relational experiences and in person exchanges. The broader significance of personally printed objects that operated as an extension of function, taste and history did not go unnoticed by consumer-based and internet-based communities. The revolution provided a collective return to a participatory physical space from virtual reality and provided an exercise in defining a total identity for individualistic curations and family cultures. Concurrently, the technological advancement brought reusable and recyclable source materials, alongside an additive, instead of reductive, process that lent itself to an environmental and economical efficiency. By traditional capitalistic standards, material gain was, abruptly, no longer unique to the rich but the imaginative as it was through the creative process of envisioning forms and discussing a critical or subjective value that material objects attracted value. These were the new investments in the talk exchange.

Some of the Science and Some of the Poetics

The L.I.S.A. Artist Residency in Space is born out of a need to make sense of newly observable phenomena that our classic instruments do not have the sensitivity to identify in a meaningful way. It is a situation that requires the unnamed candidate to approach the invisible, draw out something perceivable and render it in an entirely truthful and significant way for others. One possible reason as to why the information available yields seemingly incomprehensible results and quantitative ambiguities is that L.I.S.A.'s readings are based on the graviton (the force carrying particle behind gravity) as opposed to the photon (light). This novel scenario exposes the gaps and shortcomings of our current mathematical framework alongside the existing technologies onboard the observatory. The thrilling part about this unforeseen failure is that a new physics might be in order. For now, the unnamed candidate must fashion a C.S.A. that is akin to a train car engineered for harmonious mechanics with tracks that are gravitational wavelength readings.

 The functionality of the space-based observatory has been attributed to that of an ear held up to the furtherest reaches of space; the birth of the universe. Gravitational wavelengths, by their very nature, are invisible and similarly, the creative process entails a moving towards and a teasing out of the invisible. A listening to the unseen and a translating of the unspeakable. This is the very thing asked of the unnamed candidate: a logic and a translatable process that can draw towards, then draw out, the invisible from across a distance. In essence, this navigation of space, both embodied and in concept, is a metaphorical process in its ability to bring things together over a distance. However, to arrive at a point that reveals the greatest expanse of our ignorance there must be a system of analysis and synthesis in place that can realize the underlying connectedness of the abstract by observing patterns and linkages. If imagination can produce a greater yield than monetary wealth, it is suitable that a criticalCreative thinker-practitioner with a sensitivity to what happens in the spaces between things would be an ideal unnamed candidate for talk exchanges.


 ⁃ Choi, Charles Q. “Catching a Gravity Wave: Canceled Laser Space Antenna May Still Fly.” Scientific American. Nature Publishing Group. 20 Jan. 2012. Web. 17 Nov. 2013.
Johan Erikson and Björn Lisper. “A Formal Semantics for PLEX”. Mälardalen University. 7 Mar. 2009. Web. 3 Jan. 2014.
Rothstein, Edward. Emblems of Mind: The Inner Life of Music and Mathematics. Chicago: University of Chicago Press, 2006. Print.
Frey, Chris. Personal Interview. 22 Oct. 2012.

Lederhos, Uriah. “Re: 3D Printer Prototypes.” Message to the author. 1 Jun. 2013. E-mail.