Symposium | April 11 & 12, 2019

 
I co-organized a 2 day graduate Science Studies mini-symposium sponsored by the Science Studies Program at UCSD. Dr.Lorraine Daston was invited to lead graduate workshops and deliver a university-wide lecture titled BIG CALCULATION AND THE HISTORY OF INTELLIGENCE. Graduate students from various UCs presented their work at the graduate workshops.

Participants:
Iris Clever, Cecelia Opatken-Ringdal, Ranjodh Singh Dhariwal, Anne O’Connor, Joshua McGuffie, Matthew Soleiman, Hailey Kwon, Sky Michael Johnston, Patrícia Martins Marcos, Akshita Sivakumar. 

My presentation, titled Being Particular About Particles: Diffuse Objects in Computer Graphics and Physical Science set up dust as a scientific and technical diffuse object which begins to problematize how the field of computer graphics and the physical sciences are calibrated on the solid. 

Poster design: Akshita Sivakumar

SYLLABUS AS POLYLOGUE

Scaffolding learning through convening objects
Spring. 2018

This experimental project is based out of what I call “performance anxiety” in discussion groups. It asks how might we scaffold discussion of texts in ways which rehearse actions of sameness and difference of opinion. The project was conceived and iterated in parallel with Lilly Irani’s course titled Design and Politics taught in Spring, 2018. The content of the fold-outs draws largely from the readings on the course syllabus, which can be found here.
Concevied of and iterated over as convening objects, these fold-outs bring together major themes, discussion topics, and quetions which can then be modified in small groups. Each of these foldouts is based on the theme for the respective week, and invites participation while scaffolding learning. 

   
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THE PERFORMATIVE
EXPERIMENT 

A Polylogue to Practice the Malleability of
an Aesthetic and Spatial Sense of Self




ABSTRACT:


This thesis contends that basic architectural design training requires malleable aesthetic and spatial sensibilities which in turn can cultivate a pliable and multiple sense of self. “A sense of self” here draws on William James’s and Ulric Neisser’s plural ways of conceiving and knowing oneself through self-knowledge, self-consciousness and self-agency, all of which combine to motivate our actions in the world. “Aesthetic”, borrows from Mark Johnson’s definition of constituting the patterns, images, feelings, qualities, and emotions by which meaning is possible for us in every aspect of our lives. “Spatial” captures the ways in which we situate and orient self in the world. How we are trained to perceive, apprehend, cogitate, examine, reflect, record, and practice these sensibilities guides how we  piece together our experiences in the world as a series of aesthetic and spatial fragments. I argue that 1. The cultivation of multiple and pliable attributes of self is prescient and relevant to fields beyond design. 2. The site of cultivation lies beyond the mind. I build a case that these two contentions are picking up on recent waves in situated, distributed, and embodied cognition and posthuman discourse, that have each reclaimed the body, physical, digital and virtual environments, and the non-human respectively as extended sites of perception and cognition. Posthumanism here, in the terms of physicist and feminist theorist Karen Barad, extends agency to the nonhuman by prefiguring neither human nor nonhuman in interactions.








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//Below are some excerpts of the thesis, in no particular order. 





EXPERIMENT #1

HOW DO WE MAKE MEANING OF VAGUE
SHAPES?


Sample image of shadow stimulus


a. Overview

This experiment is motivated by the following questions : How do we graft interpretation and meaning-making onto stimulus and experience? How do we see shapes in things?  Describing vague shapes is one way to tap into the drivers of imagination — our various internal states including our attitudes, beliefs, emotions, motives, to which we may not have direct access. Further, it tracks the role of tracing in the perception of vague shapes. Does tracing allow one to slow down the perception process to see differently, or to notice more details? It gives the subject and the experimenter methodologically controlled, “phenomenologically enlightened” ways of understanding the importance of first person experience and how this reported experience can affect the experimental results, and experimental design. This experiment employs the shadow and its ability to abstract away material, texture, depth, color, pattern, and tap into deep seated preconceptions and assumptions about meaning-making from vague stimuli.









Both distributed cognition and posthumanism are engendering new aesthetic and spatial abilities that exemplify the multiplicity and malleability of self.  In order to productively instrumentalize their common findings, we need new methodologies and materials that escape individual disciplinary silos which proliferate canons and inhibit the creation of common ground. Design pedagogy has the ability to address the motivations of various fields in order to develop such methodologies. I mediate cognitive science and posthuman discourse in order to make visible their pursuits, knit together their underlying values, and frame their common calls as design problems. Through this, I test out a methodology called Performative Experiment, that articulates the malleability of aesthetic and spatial sensibilities by estranging one from rote moves. 
I propose the shadow and shaded silhouette as materials with which to engage these  methodologies, in order to challenge the object-focused paradigms which have long structured design pedagogy, arguing instead for relational practices. In order to implement the case I’ve built, I present Hogarth’s Silhouettes as a proof of concept of a foundational experiment in design education. My claim is that it puts into play a malleability of aesthetic and spatial sense of self, which constitutes a revisited way of thinking/doing design, across disciplines.


Thesis Supervisor: Mark Goulthorpe (MIT)
Title: Associate Professor of Architecture Design

Readers: Terry Knight (MIT), Morana Alač (UC-San Diego)





























Various cognitive and neurocognitive studies have been conducted to show how we gain information about the world from 2D retinal images. We have the capacity to infer solidity and depth from the 2D retinal image, based on visual cues such as shading, perspective and occlusion. Additionally, as Richard Gregory has demonstrated, we carry in our minds “predictive hypotheses” of what we see in the world, that influences our perceptions. This top-down interaction of how we makes sense of visual stimulus clues us into aesthetic and spatial aspects of self. In this experiment, I employ shadows, which flatten depth, to ask questions of how we perceive and make meaning out of vagueness. Do we still infer depth in shadow? Can the infinite in-betweenness of the umbra, penumbra and antumbra, and the fusion of flattened shadows make us infer objects that are not there? Scenes that are not real? In asking these questions, the Performative Experiment not only acknowledges the role of the human as the agent who perceives, but also the shadow image as an agent that influences perception. This intra-acting relationship between non-human stimulus and human perceiver, that generates a joint perceptual capacity, is central to why this is a posthuman Performative Experiment.

“I see a llama speaking to a camel.
  I see the Pope on a Pope mobile”











Participants in the meaning-making from vague shapes experiement






Sample pages from book documenting thesis project



EXPERIMENT #2 

HOGARTH’S SILHOUETTES: 

DESIGNING WITH RELATIONAL ENTITIES RATHER THAN WITH OBJECTS.



a. This intervention was developed as a result of an analysis of the object-obsessive ways of designing. Arguing that this mindset has been baked into the digital tools what we use and limits the ways in which we can discuss aesthetics and spatiality untethered from the object. By tending instead to silhouettes and shadows -- relational entities, I simulate what simulations might look like, and how it might challenge systemic presuppositions while designing in the digital realm. 

Isolating silhouettes from William Hogarth’s Analysis of Beauty. 1753.

Clip from animation. Percepts of Absence.
Akshita Sivakumar. 2016

Sample reel from animation. Percepts of Absence. 2016

PERFORMATIVE
EXPERIMENT

Shadow as Rogue Boundary Object 

 

Here, I’ll rely on the tweeting talents of other people to succintly explain the content of my talk. By Ellie Irons (@eirons).



POSTAL
POETRY

2014 - 2017
Analog + digital artwork + poetry 
Limited prints
Artwork, poetry, narration: Akshita Sivakumar

A series of poetry that confronts the  postcolonial blindness of a formerly familar environment, to listen closer to the voices of the subaltern. Told in the voice of a tiny, traveling sun. Poems paired with original, digital and analog artwork.

Personal poems from public observations, finding a new public distribution.
Intimate sending and receiving, mass scale of distribution.
Distributed postcards carrying disparate voices on their backs.





01
THERE | HERE

There

Yes.
Ok.
Good.
Great.
A vapid vocabulary.
An inessential pithy.
Ravenous oceans are reined back as they swirl
and through a weep hole just a drop drips
In tried brevity. In tired brevity.

Alleys call where the billions haven't yet crouched;
A blank wall beckons me to paint in words today-- come play!
“But look! These veins are but a map”, I say.
“I have it splayed-  Here a creek, there a bend”; neatly mapped out all the way to the end.
                                      To be encircled. To be framed.
And it’s leading me
Back there.


Here

We tug. We war.
In a love-hate fest of tanned impulses,
conflicting intentions and

disdainful winces,
amidst the warm stones to build and the stones to rest.  
 Once the noises have been silenced
and I’m cooling my crest-
       there--in the nether--I may see it differently.

But back in the scalding building yard where the granite monoliths have fossilized stories
seeping out their veins,
I stand wayward.

But a scurrying lizard hears you;
His changing skin mimics your yellow, now red, now quartzite grains.

He will feel your story-- 
Right here.

2014 05 10
INTERMITTENT CONTINUUM

Janus-faced, at the threshold of sleep and waking,
A color popped in my head - purple.
Aubergine, pearlescent, grape soda, a bishop’s velvet;
When the winds connected the dots to create streaks of stormy wetness,
they picked purple from the palette.


I rode on that color streak,
8000mi away in a second, panting up hills doing sprints.
A sunny burst of diamonds turns dark in the fountain;
Watched over by a bronze Louis on a horse he never rode,
something’s dunking my past in indigo.

If inertia was a colour, it would be purple,
Of rest, of motion- only a very fine line.
I scrub through magenta and violet;
Adjusting the reds and the blues,
to fill in shapes of a fading memory template.


It comes, it goes, in spurts of dusk,
Between blinks it collages various homes.
The bustle, the time lapse, I grab for the white within;
Colors stand out  when held against an additive nothing--
Revealing indigo blotches in an intermittent continuum.


2014 04 24
02


100+ Laskey competition winning entry
with Stephen Kim
2011