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Monika Jaeckel (CV)		> > www.mindgap.org
memacism related: Mema	memacism (2012 - ongoing)
artistic research project that evolves around the self invented notion of 'memacism' -> list of presentations -> portfolio incl. texts & video	*memacism* (motion embedded mind agency concept) related: Mema (motion embodied mind agency) Memacism as a terminology emerged from the interest into the recent research field of embodiment or embodied cognition. The approach understands the mind (cognition) as by fact being embodied and situated and thus defines its agency as simultaneously embedded in and emerging from a complex system. The definition of the body as “the possibilities of situations” by M.Merleau-Ponty has been an early predecessor of the definition of embodiment.

>> mind the __ GAP*? .. following a definition of space through its limits (like walls etc..), interprets especially media space and its possiblities as evolving through gaps	GAP* (2004/05 - still blogging)
(*defininition of the weblog as a liminal space refers to A. Galloway)	The gap as the metaphor for the void / empty space which is necessary to have other things evolve -> to get a 'moving' / streaming image - a changing image -> thus the gap as the moment of free space, defining the closed 'programmed' space / the scripted space, which needs the break to get the next action running / the next character introduced -> bits, morse, pulse, flash, etc.. The gap as the underlining concept, as the line, basis from where things start to evolve. The weblog as the initial starting point, as a liminal space*, a space of in-between real/virtual, private/public. The performative principles of staging and cinema set against each other. 1. to refer to the image as the interstice of gaps within the representational tactics. 2. -> examine what evolved to bridge the loss of authenticity emerging from the new technologies 3. netstrategies appeal to a general deterritorialization of the brain - > consequently the evolving deterritorialisation of cognition should also contribute to a non fixed / established view - > meaning trying to find out about the 'gap' between the gaps 4. reference of artists, who do not point out that much a relation between the images, but the invisible interstices of an underlying script of embedded sociality and equally influenced response towards technical terminology, which outlines new approaches ..

Talking with ALICE ... .... remote conversations ... a performative lecture together with Katharina Weishaeupl and Lena Lee pdf (german only)	Talking with ALICE (2004)
	Remote conversations refer both in a literal sense to chat room exchanges with more or less ‘real’ interlocutors, and as well in a figurative way to the occurring dissociation from signifying interpretations. It is a play with stereotyped forms - as results of mediation - like direct addressing and visualization of thinkable 'material life' contents, eventhough those constantly extract themselves into the two-dimensional and ‘dissolve’. Ironically this continuing visualization charges especially unclear images with a symbolic meaning which strongly demands materiality. Two imaginary ALICEs, one a virtual figure of the modern wonderland Cyberspace, the other a fictive invention from the old (book/real) wonderland assist as matrix and female assistants to get a flashing beam - a 'reflection without mirror image' - of this wonderworld into common environment. These conversations about 'passion / enthusiasm' reflect a normative reality, which despite constant deconstructive modules refer to a common in/capacity to see the image as the copy it is, the world created. ... stating: The current illusions determine the visualizations of the mirror image of ‘reality’.

PPT presentation 'Colors of Perception' on invitation for Bettina Lockemann's exhibition 'Code Orange' pdf (german only); (ppt web version / currently only for IE)	C.O.P. (2003)
	'Colors of Perception' was presented as a ppt screening embedded lecture during the photography exhibition of Bettina Lockemann in october 2003. The talk refers to her newly created work ‚Code Orange', which subtly questions the common approach towards photography as a main index of reality. Encoding affects perceptional strategies - thus a main aspect of my work is the analysis of cultural and sociological influences onto the perceptual/based constructions of reality. Considering both the way these ascendancies are manifested in the everyday surround, as codes of behavior and perception and as well the method of interpretation itself. There is no neutral language for the processes of encoding, as the act of interpretation of the non/visible is likely to have inherently paranoid traits attached to it. This leaves an unresolved sense in the unknown, which empowers fear such as in the construction of the notion of the 'Other'. Though conciously questioning the 'empty' space of this projection, is attempting to allow in a freedom for development of meanings that orient towards re-defining the language of the in/visible and its inter-cultural interpretations.

The here added chapter of ‘DOVwKP – The Demand of Visibility within Knowledge Production’ focuses on how criteria of the scientific visual abstract have emerged into the daily imaginary and influence the construction of our view onto reality and the world.	DOVwKP (2003)
	The creation of knowledge/information in western societies is dominated by the logic belonging to predominantly scientific approach. This construction in turn evolves structures defining the parameters of in/visibility within the social. In this framework, the concept of the seen' operates as if self-defined, as its interpretation remains strictly based from within this system of scientific developments. If assuming knowledge/information production today as still related to 'making things visible', it is then equally associated to the instruments developed and used for that process. In this regard, there appear suggestive connections to the notion of a 'paranoid' construction of the world made visible. A perfect example illustrating this is B.Latour's analysis of Pasteur as mentioned by J.Hunt. For Latour the creation of a proof is problematic as it is made obvious as the slight, but unconscious perception of the whole subtle construction. This constant endangering of dissolution through its own recognition brings with it the demand for readable confirmation. Nowadays the need for evidence and authenticity increases not only by the methods used, but equally through the produced amount of ongoing visualization. Scientific imaginary, which today depicts our world-view up to a high degree, increasingly develops into abstract visualization. It is the nature of the scientific image, that it only can be read in a chain or flow, and trough a predefined code. Because of this, it cannot be interpreted clearly, when standing for itself. The defining criteria of the visual abstract increasingly are transformed onto almost any material of visualization, this becomes evident either through the devices employed or the methods applied. Though logically it simultaneously establishes the inside structure as a self-centered construction of the interpretation of the seen. Connected to this is the dictate of dominant cultural forms of the west, which still define diverse cultural representation and identity from this predefined/coded material or better extremely centered point of view. This equally leads to very narrow possibilities of 'visible' self-definitions for other forms, as in many cases just not being recognized.







. . >>> delegate-perception.net hosts an ongoing project about the influence of remote seeing devices on perception. It concentrates on a general analysis of the transmission of digital imaginary in ‘DOP - The Delegation of Perception’, which had been developed in 2002.	DOP (2002)

	Starting point of the work was a critical approach towards the actual visual material in times of digital production and transmission. To limit the area it concentrates on images provided through remote controlled technical devices. This section of an indirect perception concerns an increasing part of our visual information input, thus we rarely consider a critical examination of this visualizations, but still take it as a fact that `seeing’ is equal to `experience’.