Shedding Light on the Extended Mind: HoloLens, Holograms, and Internet-Extended Knowledge

The application of extended mind theory to the Internet and Web yields the possibility of Internet-extended knowledge—a form of extended knowledge that arises as a result of an individual's interactions with the online environment. The present paper seeks to advance our understanding of Internet-extended knowledge by describing the functionality of a real-world application, called the HoloArt app. In part, the goal of the paper is illustrative: it is intended to show how recent advances in mixed reality, cloud-computing, and machine intelligence might be combined so as to yield a putative case of Internet-extended knowledge. Beyond this, however, the paper is intended to support the philosophical effort to understand the notions of extended knowledge and the extended mind. In particular, the HoloArt app raises questions about the universality of some of the criteria that have been used to evaluate putative cases of cognitive extension. The upshot is a better appreciation of the way in which claims about extended knowledge and the extended mind might be affected by a consideration of technologically-advanced resources.

Applying Kinaesthetic Empathy and Extended Mind Theory to Invasive and Discreet Instruments in Sound-Based Live Performance

I have taken the ambiguous psychology of Kinaesthetic Empathy and the relatively recent ideas that form Extended Mind Theory and re-contextualised them so they are relevant to sound-based live performance. I then used these psychologies as a guidance to investigate how we interact with discreet and invasive instruments by analysing specific examples of performance, sound installation and composition. I have defined ‘invasive and discreet’ by using examples of how these instruments are presented as objects in the context of performance. For example, the way in which an object or system can physically invade, and make use of, the performance space when employing technology and physical sculpture; or how an object or system can interact with the performer through tactility and psychological presence. During the process of defining discreet and invasive instruments I noted that there is no binary differentiation because the instruments denotation is dependent on context, sound palette and how they are interpreted as objects for creative expression by the performer. I concluded that the physicality of invasive instruments gives strength to the presentation of ideas in live performance. This is in opposition to discrete instruments which I argue are better suited to studio production or acousmatic performance.