IKONA

Interdisciplinary research project between music arts and anthropological reflection

stefano.ventucci@smcnetwork.org Topics Aesthetics in Computers and interactive music Music Ethics of Artificial Intelligence Perception and cognition of sound and music Physical Modeling of Musical Instruments Representation and Models for Computer Music

1 . The Ikona as sound image Based on a well-known Karl Popper [1] essay, according to which human language was born from the game of children1, from babbling and by comparing the new generation of tools in a neutral environment, we formulate below the hypothesis of a birth of Ikona not from an evolution of thought, by a refinement of the conceptual work, but from an inspiration that is anything but programmatic and at once is given as theletic (i. e. bearer of will) and expression of forces in the field not handled immediately, but certainly manipulated. In a fragment work entitled La limite de lutile [2] the boundaries of calculating reason had been fixed beyond the conceptual manipulations about the findings of the caves in Lascaux and the emergency of a visual language could be related to the human need to obtain immediate feedback of its needs or need for a narrative [3]. The man in the caves paints his hunting scene, the Australian native sums his medical encyclopedia and arranges at will on the rock, the Druid interprets the signs of nature and transcribes them, imitating the figures here and there, now winding or rough. Nowadays it is possible to transpose the teaching of cultural anthropology, the results of the meeting with the shaman with Amerindian or African people much more accustomed to imitatio naturae than the western technician: If the first prehistoric artifact, which traditionally marks the beginning of art history, can be found in the Venus of Willendorf [4] is not impossible to trace the birth of Ikona as part of a strategy aimed at economic group in those caves where the early hunters-gatherers gathered around the fire. Even more original is the relationship with those cultures s. a. the Chinese or Hindi, and in general to the idiographic that give the natural writing, the marks on the bark of a tree, the invisible hand of the wind over the rocks or reading debris along the bottom of a river, the ostracomancy, meaning even more abstract as a living sign of the presence ( ) which is not to be bent to any purpose [5] . The story of the wise man who sits in the branches of a tree, whose gnarled trunk discourages any use, but which draws its raison d'tre from the shadows that casts its gigantic size, ephemeral meridian advantage, transient, explains the reason of originality of women's language the paradox of an act which precedes the power, a iva ancestor of akti, a thunder that is able to anticipate a

ABSTRACT
This work deals with cultural studies continue and more particularly the aesthetics of iconic reflections, where Ikona means not only a substrate-image but also an acoustic instrument. What stimulates imagination more than a medium which is infinitely powerful by nature as in the case of religious iconography and powerless at once, since it almost never allows detachment from the reality of its figuration. As we do in semiotics for indexes, signs and symbols in visual art we deal with complex languages that hosts things i. e. images that refer constantly to other things and it occurs very often that what it is given as an economic advantage is obtained from a synthesis of its contrary: a regressus ad infinitum. A support of acoustic resonance is added to this substrate-image by rethinking the modular mind and the increasingly close relate between neuroscience, simulation of complex systems and the users of social network on the one hand and the role of ethics in areas that may be considered art fields but whose accommodation is still poor, inappropriate, pending regulation or uneven. In the context of the International Conference of Music and Philosophy, as we shall see, this reflection leads to a deepening of themes which are common to both field of research: ethics, interaction, reflection, choice, freedom, playfulness, imagination.

Copyright: 2014 Stefano Ventucci. This is an open-access article distributed under the terms of the Creative Commons Attribution License 3.0 Unported, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
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Supposing human nature even in every country. Test on this hypothesis can be performed in every culture, and no result discard its root.

flash which demands a ternary logic in order to be unraveled. Hence, to endure the trip in the land of correspondences between shamanic cultures and cultures of grammars, or rather said ecstasy and trance [6], it is perhaps counterproductive: let us think of the white fox with seven tails kitsune and the greek Hermes, or philosophical mercury, the animal totemic symbol of omniscience among natives Indians of America and the intelligence deployed in the father of the gods Jupiter, the turtle taro superstition in Indochina and that same animal among the interpreters of the signs on the I-Ching. The other extreme of this reflection on the power of icons, inexpensive devices capable of hosting the living presence of a principle, is offered by the dialectic inherent in the formulation we propose: the image of rock art, the carved shell, the tree trunk venue of the meeting between heaven and earth, are already imitation of the sign, as they detach at the time of interpretation. Question as old as philosophical reflection, are indelible memory fragments of the Stoics [7] : the arrow of time, Achilles and the tortoise, the crocodile who kills her children during the ford but equivalent tales are heard on the banks of the Ganges such as that of the monkey, his heart prey of a tiger hidden among the foliage of the jungle, or that of the old woman to whom the great Khan asks for it can satisfy a desire, and she says the truth, nothing else I need anticipate any attempt to give a voice to that empasse that is resolved in the image, powerful and powerless together of a real feedback, magical effects on the objectivity and tangible and lasting experience. Example of how the primitive representation is qualitatively different from modern technology and this carries a most original truth is given in Traditional Art and Symbolism [8] where a more subtle, almost indecipherable, difference between the third person of the Trimurti, iva, and its archaic representations, often hewn in the limestone and in a most abstract representation, still holds its terrifying qualities in appearance and narration. Precisely in this original unity of sound and Ikona is possible to trace the origin of the mystical ancient Pythagorean wit of the ringing stars, and from his lectures in Magna Graecia we have developed the first theory of sound from strings stretched over pitchers of clay, Plotinus collects the initiative and systems the Orphic tradition, thanks to the engineering of Forms Theory, and between the two rivers in India and around the Vedic masters they talked about original sounds,

creator of the universe. The idea that in the macrocosm are contained germs from which the microcosm sprouts, and vice versa, this is a mirror of reality superior to it in size and quality, takes on an essential aspect of music, that image can only be deferred, delayed, split and transient. Still echoes of the Platonic paradox, whereby the imitative art leads to error, still the ideas convey the essence to things, including the adoption of their light [9] . Throughout the middle-age despite flourishing contributions from the Arab world [10] the iconography remains anchored to attempt to fixing the musical language in a grammar, not unlike what happened to the natural language. The Pythagorean theories generate hard to decipher manuscripts, e. g. the Voynich and only in some monasteries the musical grammar assumes a clarity worthy of this name, the scribes codes of Montecassino among the most renown. Between the XV and XVII of our age, the pursuit of perfection, a return to the classical meter in every field, the liberation from the shadows that seemed to have thrown middle-age humanity in disaster and poverty explains the success of masterpieces of the Florentine Renaissance: the concentration of genes philosophers and literati painters, maybe only in certain conditions, the atmosphere was that of the Roman patronage, large families possessed wealth in abundance, and the banking system was being born, meaning that each artist could be considered independent maybe not at all levels of the apprenticeship from the master and corporation who defended him. Such accurate and fine a production can be found only in China during the Ch'i dynasty, where the rules of the master Hsieh Ho were formulated: the six principles of painting, the third the adhesion of the image shape represented is the principle of purity expressed by the Florentine Renaissance, a principle of aesthetic beauty that only in XVIII will be fully implemented by Baumgarten [11]. Here we solve the problem of Platonic mimesis and critical aspect of the image as well as the Ikona: in the moment of interpretation, observer and observed can merge into each other and be together in communion, in a new unheard consonance.

2.1 Pythagora Switch and Athens Theory of Everything Before coming to this meeting, this conjunction where ethics and practice are admitted without any scrap musical interaction in the context of complex systems, we will need to extend the concept of ethics in social networks and community practice the global network :

"For the internet to remain open and global, it is imperative that countries, including those currently lacking capacity to deal with it adequately concerns security, to adopt a growthand freedom-oriented, participatory, bottom-up perspective on security that has human rights at its core." [12]

to the physical component of the light, the color, the vibrance, etc... but also to the values of the significance, can be defined as an optical musical instrument: in other words, a door to the imaginal world [14]. While neuroscience tries to recreate an image of efficient altered states of consciousness [ASoC] and to achieve even on a solid foundation to the traditional formulation of a detailed analysis of the mental processes that can be produced by individuals fell into a trance or higher to shamanic ecstasy, meditation on the sacred ikons, the reproduction of the sound of chants and sacred instruments of every tradition is a practice that combines a non-analytic everyday experience that many perceive as misleading, antisocial, dissonant or farfetched. Anxieties of giving birth to a work of art [Gesammtkunstwerk] has generated ideological unity on one hand, and on the other " headless monsters without direction ": the intention of the composers is to give shape to unformed, in deference to the Orphic tradition of the Mediterranean Basin and the fertile crescent, avoiding the occurrence of totemic taboos s. a. organization of meaning, which imprisons the dynamic Stimulus / Response [15] and does not give rise to interpretation, a quidditas that has always been lacking in the womb of modern hermeneutics. It is quite ambitious a project to find a tool that is able to give account of a difference [16, 17] that is potentially infinite, but actually bounded to the "usual musical boundaries and imaginary". What is beautiful or pleasing in a picture, the evolution of graceful forms that generates the musical score for those who can read it that sounds just as nice? These are the questions that aesthetics has always been given, and found very little definitive answers: the qualities that the aesthetic object look being it a sound or picture are neither in the object nor in the subject consists interpretation, but in the middle. If, then, between grammar and practice there is a gap which is measured in subjectivity and intersubjectivity is the solution that the information revolution has given to solve this gap in an ever-changing confluence [18], the goal of a practical philosophy that wants to be an aesthetic tool will be to bridge this gap: the image is a continuum of sound production, and as such can be modulated: while the symbol unites giving meaning, and this meaning can be understood only by interpreters can be familiar with the forms which that symbol formed, the iconic image is on a hand free from this constraint, and on the other deprived of meaning required by the symbolic link. In this, his freedom is a higher value assumed by and

For this reason it is important to emphasize the dual nature of the image, to reflect on the potential of an image (when we can say it is iconic) has in the global economy and in new forms of consonance reconcile these features with those offered by the world of sound . In other words, a research tool of interpretation of the images is necessary, both in the productive and perceptive WOI, in order to develop a new awareness of any given complex interaction system. What is this coincidence at the core? The set of ethical standards and musical production, the practice of hermeneutics (i. e. establishment of rules of interpretation and artistic production at once) and agents of the tools in the aesthetic field: when these moments will be completed in a satisfactory manner, you see the effects of a connection between music and images that the absence of philosophical reflection precluded. While the experience of the sound feedbacks the dual nature of phenomena, both created and creative, without waste in an immediate way, the image always has a delayed effect that requires an interpretative accommodation. However, an Ikona has additional features and qualities that shifts from those of a simple picture: within its frame, the power of creation is interiorized by the observer, and more mimetico embraced the gesture of the artist. The production of meaning is guaranteed by a coincidence: the sound is a creator of worlds, the iconic image is a sound image. Although odd and unusual might appear this legacy, the image that you want to consider as iconic is in all respects a musical instrument: it shares with it the semantic and the material, the intentional, or symbolic, and the ritual. As well as a musical instrument is not an instrument among many, so the icon is not an image of which you can trade colors and shapes, lines, shapes and compositions. To be capable of sense [sinnvoll] a tool or what McLuhan would call machinic extension, cybernetic implants, any interface that can amplify our experiences [13] must have the feature of agency and modularity of musical harmony: also a tool to give semantic features the same way a sign can take on a meaning that was not there before, but a musical instrument cannot be meaningless or deprived of agency, since it produce effects on the reality of the subject that unfold on different levels. Thus the Ikona, which does not reduce the phenomenon of observation

that sometimes belongs to - the artistic experience, because it gives the interpreter a selective generative and compositional ability symbols can mediate, since they compose the universal language of the performers, but not exhausting their possibilities: despite of the symbols combinatorial nature that has infinite capacity (combining what was once distant) sign icon alludes to a presence that cannot be resolved even in this infinite combinatorics: to be able to resonate with this presence is the task proposed by musical morfoermeneutics. It should at this point reconnect the experience of neuroscience, the contribution of which is never too appreciated by the humanities on the holy icons but that is constantly producing amazing results : the measurement of the heart rate or eyelid movement in what is called butterfly effect, as well as the ecstasy of hyperfrenic state [19] in studies on patients who practice deep meditation during the day, daily use of rosaries, harps and amulets to ward off negative influences of any sort, is a virtually unlimited pool of informations with examples designed to reconstruct the path which we are trying to define the coordinates of. In The Acid House [20] a journalist recover the link between the need to obtain a form of ritualized and socialized pleasure in the music and the consumption of drugs, and some images from the saga of Koyaanisqatsi [21] Can be said to icons insofar as they are associated to a form of music monumental that marks all levels of the imaginary audience. The fact that between the image and the sound there is a strong bond, capable of pushing artists of all time to recreate the fascination, it is more trivial to our eyes, and this is as much as we are immersed in a constant flow of politopic informations.

Figure 1. Venus of Willendorf, 24000-25000 BC, Naturhistoriche Museum Vienna.

A tool that is designed with the aim of interpreting the ineffable is by definition a logical contradiction. But placed within a non-linear logic of the hermeneutic circle you can also evaluate the possibility of interpreting what is at first unintelligible: let us think about the hieroglyphics, which appeared devoid of any sense in the first discoverers eyes but could not stay long dumb, because any tablet engraved may have meaning, being the product of an intention, accomplished in the subject or translated into it by an intermediate step of communication [22]. Some researchers, and I am among them, are persuaded that even inert matter is capable of producing vibrations, according to the electromagnetic theory that introduced a background radiation which remains even after the big-bang. Similarly, it is not difficult to think that in presence of appropriate tools of measurement you can record impressions of living beings who have lived around this vibration for much longer than us. Most of the stories is full of information about the ineffable figures that describe this reality is possible without a clear exposition of documents, we need to use the tools that the imagination has refined over thousands of years of evolution:

"Since this intense meaning is devoid of specificities, the only way to communicate its intensity is the metaphor; hence, only through the transformation of objective sign into subjective symbol in art, literature, and religion can the increasing integration of cortical and subcortical activity be communicated." [23]

The semantic information by which we mean not pure information, but something complex, belonging to a complex network of meanings it can be processed into various shapes, however, this does not mean that you give ethical rules to determine the accuracy of correspondences between original myths and nowadays event. In every field of application, the character (ethos) that conforms to the object immediately performs the art in the categories that gradually come together in the world, e. g. a trumpet that is produced within the constrictions of a cave will certainly have a different effect in another environment, hence the source of the sound can be modulated on the character that we want to impress on the matter. Sound and matter are the two poles that, in the analysis of morphological topoi correspond to the agent and the act. The network performs semantic objects, called macro environments, while the structure of the network plays a key role in providing the user an infinite, since self-generative, source of reference images: the creation of an icon will surely be given to the experienced users looking for a model, assuming that the universal grammar [24] can generate itself2. Mathematical models of reference may be solids that do not match the rules of Euclidean geometry, but that must be studied under a plural logic: the importance of polytopes for electroacoustic music as well as for philosophical reflection is entering in the field of manmachine interaction, and we can expect great results even in ethics, since binary logic intractable conflicts that have produced only these logical alternatives can heal so far.

Figure 2. Explosion of a dodecahedron : hecatonicosachoron. Image courtesy of Wikicommons.

"Beauty [...] does not arise from the subject of a work of art, but from the necessity that has been felt of representing that subject", [25]

Network structure = universal generative grammar. "In a box score, natural sounds are reversed in order for a computer to generate a response: this will be more similar to a natural language the smarter the kind of input will be poured into the system." [Nottoli, Silvestri, 2013] Electroacoustic perfomance held at EMUfest, International Electroacoustic Music Festival, Conservatory of Santa Cecilia, Rome, 2013.

Overcome the impasse which the aesthetics of the seventeenth century had fallen into, in other words, embedded within the doctrine of distaste, new forms of art are perceived as such only in a new association with hard sciences: theoretical framework that combines practical in building new models of interpretation in both directions, in the field of traditional art as well as in the production of OBE, and while critical thinking is aimed at the vanguard which explore the field of mere perception where optical art and electronic music, the pulse catch and return pointto-point experience art in different media in the very heart of the union between music and philosophy exists both at global and local level a common purpose that produces objects unmistakable character: touchstones of this path can be identified for instance in the Drawing Restraint series [26]. Even more minimalist examples of the confluence of physics of sound, material processing and visual performance are obtained with ferrofluids or non-Newtonian fluids and magnetorheological fluids used in the mentioned Barneys work. This kind of artistic operations is anchored in complex mathematical models (such as the hecatonicosacoron shown in Figure 2) because the attempt to match a multiple dimensional flow in interpretation is in the

interest of the morphoer: the act and the agent must be present in these models, derived from the hard sciences, to refine a technique otherwise shallow and late compared to the complexity of the required results from the performing intentions. On one hand, neurosciences and brain-imaging tools are able to return as a physical mapping of the relationship between interior and exterior; the results of these measurements must be filtered by the scrutiny of the cosmological theories [27] to obtain a model as universal as possible in the point without extension of the artistic flow. On the other hand we have the performer with its interpretative tools : imagination, corporeality, agency, compositional work. As well as between ecstasy and trance we have a range of frequencies measured in the same way we would have a score of colors whose frequency is not measurable and modular: however, in a traditional system, in which the dichotomy between self and I is the stratified substantial ambivalence of the performer spectator, "hub and destiny" of the artistic experience, in the models that we have to redefine the complex interplay requires the facility in the absence of a self. The artistic experience is then the product of an epiphenomenal artificial intelligence [EAI], where by epiphenomenon we intend that result that you get from contextual processes emerging from the combinatorics of the possibilities given by the system.

the point where you can give a free choice (what makes an ikona what it is and what downgrades it to a mere artifice) and where to place the self as simulation [28] a body with choice, given that this Self is something necessary.

3.1 Free choice : the ethics of EAI The free choice concerning this research, including archeology of sound images and perceptions, music production and emergence of new models of interpretation, consists precisely in this emerging phenomenon. The paradox of a free choice in the absence of a self always headquarters3 of common purposes, and the personal experience of psychic organization, and also the motives and choices of individuals can just melt into Ikona. This seemingly oversized role of the sound is due to the characteristics that we have agreed: agency, capability semantics, symbolism (or intentionality) . Also, and this is a fact of the utmost importance! the ikona is the result of a process which belongs to the whole community of users, then emerges from a series of combinatory calculations that tends to infinity. It is the huge size of calculation that makes it extremely difficult to identify
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Figure 3. Temperance. From the series of Charles

VI Tarot (also known by Gringonneur). The images of the Tarot are examples of a practice in which traditional elements called Arcana, or the Mysteries are associated with daily life, ethos and personality of interpreter. The same word TAROT assumes an important meaning for many cultures: from the wheel of karma to that of Amerindians systems, the Orphic tradition and the Egyptian. Unique blend of science and superstition, they must be entitled of the importance of a causative tool global cross cultural medium and sample of semantic capacity, toward which "an authentic approach can give many possibilities of interpretation to the individual who wants to clarify its position in ' universe ' [Jung].

Here metaphors are actually countless. From arena to ship vessel, the words and images literature have chosen during the ages are media at hand to describe this fundamental topos of interaction.

3.2 Features of Ikona: Agency In anthropological reflection on the use and nature of images [29] we find the importance of choice in the background, while the medium plays a fundamental role where these images flow, and need voyages as comparable to living beings and feeding [30]. Belting emphasizes what is a charming picture, or imago, giving it autonomy from the media installation, as well as Mitchell speaks of images of living organisms endowed with will, in this trying the recent reversal of traditional epistemology. However, if we can regardless of the medium and the self we also solved the paradox of the sound, since autonomy can only be the interpreter and the medium is none other than the place where it shows the representation of the data, as that place in which agent and act are the same. 3.3 Semantic Capacity The main feature of an image of being the bearer of meaning, stimulate reflection and action, knowledge in all fields, as well as tap into an established tradition is the Ikona semantic capacity: in another sense, also a pre-cognition may be possible, since the process is not univoque. In this context, also the imago of Belting responds to this feature: connected to an event [31] this needs to be read, interpreted, rebuilt and sent, shared in order to define it as such. 3.4 Symbolism (or intentionality)

when symbols are left without intentions in the field and ready to be picked up by actors, or in a claim when the intention is made clear by a straight and unique use of symbols. In other words, interaction can be light or heavy whether the environment or the Claiming is stressed.

Figure 5. - Adam Brown [Artificial Emotion]: Artists in Lab historical consciousness and scientific art. Intentionality without symbolism? [Environment Interaction]

Both cases lack of a complete reflection over experience of art. They have strong features and fulfil many objectives use of modern technology and social network for data manipulation and its source, global activity and mass human interface to upraise interest, historical weight and use of data sources, etc. thou missing the point of a symbolic life (living being, organism) sets the difference. Art should imply a specific participation and an author's artwork whose persona is missing is not a work of art. If the problem of AI is traditionally set in the master role of interpretation in the way the popular culture perceived the question about it, the easy way out of the problem but this is not the solution! is to consider art as the result of processes that can be reproduced without an author: interaction stands still in front of this absence, but dissolves in parcels of perceptions. Even in the given scenario, we might depict a simulated author into a framenet that will not last nor withstand the trials of a comprehensive work of art, for it implies the aim that is endured in every work of this kind: namely, freedom. Between the choice among endless possibilities, Whether or not an image can arouse our utmost, profound experience: such as an Ikona, we must consider personality as a fundamental topic. Given the absence of this important pattern, we may introduce the substitution is an ASoC by consumption of drugs, in order to obtain what the iconic image promises, either way, the choice concerns and the individual, "except for the anesthetics and hypnotics, there that drugs are

Figure 4. Jer thorp [Data Mapping]: symbolism without intentionality? [Claiming Interaction].

Claiming and Environment as classes of these two aspects (or ways) disposed by interaction. The play may be intended among actors in the environment,

not selectively direct human cognitive (psychological, or, in our terms, cortical) functions" [32]. Although personality, ethos and characters may be simulated by "masks", i. e. representative models of behavior and patterns of intention the choice we want to display (or disposed of) in an interactive artwork must be free, and freely intended: being the most important aspect of ikona sonora, the range of symbolic intentionality is the subject of history, the tale of his / her perceptions and impressions, in-the-middle flow of parallel resonance to the object, and the recollection of agency and semantic capacity formerly disposed by the interaction into a sensus communis that belongs not only to a subject but relays its coherence with a whole field of multiple interactions. This last point concerning ethical values is a resonance that cannot be measured by statistic nor by electioneering. While these are elective means for relevant studies and market screening, the resonance we may either foresee and perceive, within and among others ourselves, is the unpredictable animal instinct which cannot be diverted nor manipulated: the only reason why this is not possible is the multifaceted, polymorphic state of this matter: morphoermeneutics are those disciplines that attain this matter and describe the effect this matter has on art and culture.

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