The medium of film has an embodied dimension for me. The image (see below) of a young man covered with film strips is from a 16mm film named Traps, which I made in 1990. The man is standing in a London scrapyard, wrapping the film strips on his body ecstatically to the sound of Tibetan monks chanting. It was a film-ritual, which was followed by a live performance in conjunction with the projected film.
The filmmaker William Raban, who was sometimes behind the film projector, during live performances of Traps, was my tutor who encouraged me to pursue my practice. Raban has been an inspiration as a filmmaker as well as a model of a great teacher. He is the type of teacher who will push you in the direction of your limits so that you cross them.
William Raban interview
Houseless Shadow by William Raban, Trailer
London Republic by William Raban
Uploaded to vimeo 2 months before the referendum, London Republic is a satirical fairytale - a political provocation that invites the a...
The artwork Manifestos of Strange Becoming by Seeker_of_True-files is on show at the ACM SIGGRAPH exhibition: The Urgency of Reality in a Hyper Connected World.
Artist Statement by (c) Dr Lila Moore, 2018:
The artwork consists of a series of online videos which unfolds the musings of Seeker_of_True-files, an identity defined as a tech enveloped nous, a prototype tech-mind, and an active tech-thought-form. Seeker_of_True-files originated from an auto-communication process during a Networked Rite. Auto-communication is an anthropological concept that relates to psychic and altered modes of communication during the practice of rituals. This mode of communication is typical of shamanic, mystical as well as artistic practices. Seeker_of_True-files is a representative of the mindset of cyberception that networked life and ritual stimulate. Cyberception is a technoetic term by Roy Ascott that implies a comprehension that arises when dry digital systems and moist biological systems interlock and...
Lights in the Darkness was a multimedia piece inspired by Charles Baudelaire's poem The Desire to Paint. The protagonist assumed both the characters of the poet and his demonic double and muse, who since disappeared in the darkness of one unforgettable night, haunts his visions. These initial images of the double as a reflection or apparition hovering on or seemingly moving within physical and ethereal sites and interiors were my first explorations of moving within what I currently term as noetic fields of the mind.
The article proposes that the modern notion of the spiritual in art, which was theorized at the beginning of the twentieth century, although remains pivotal to the discourse of art and the spiritual, has radically shifted as a result of changing attitudes to the body–mind relations instigated by popular trends of contemporary spiritualities.
In this blog post I shall begin to unfold my journey towards my current vision of Cybernetic Futures. I'll be posting my personal story and my ideas in a series of segments that will include images and videos from my work as artist , theorist and educator.
The Nous of Communitas is a highly creative altered state of consciousness that generates the emergence of novel forms and ideas. It represents a radical departure from the conventions of fixed identity and social hierarchy and an encounter with a unifying nous of cosmic dimension.
The participants collaborated on a 4-part ritualistic process that induced the stages leading to communitas, involving the experience of auto-communication and allo-communication.
The ritualistic process commenced in a video room, which functioned as an 'initiation pod.' It involved an introspection process through which each participant shed her known identity and transformed into a channel of communication which was allocated for her by a remote, initiating cyborg-entity, on the basis of her responses to the situation and to its questions.
Video clip from the interior of the Initiation Pod, which transpired inside a video chat room.
The sessions youfacilitated were extremely enriching, both as a group and individually. The journey from the response to violence - working as various channels responding to each other's work - to compassion, was simply beautiful.
This remote session was considered as a highly creative altered state of consciousness that generates the emergence of novel forms and ideas. It explored communitas which represents a radical departure from the conventions of fixed identity and social hierarchy and an encounter with a unifying nous of cosmic dimension.
The online interaction utilized cyberspace as a non-local space-time onto which a digital field of influence, an intended dimension in space-time, was added by the participants. In this context, the field is regarded as an immaterial nous (mind/consciousness) conceptualized in the form of a digital broadcast which can be traced on a digital file and re-activated. The purpose of the field, which the participants genera...
Lila Moore's USB with a prototype morphic field sample is on show and available for activation @
March 4-6, 2016 @ Abteilung für Alles Andere / Berlin
The USB contains a video file with prototype morphic field of compassion. It is comprised of footage from the Feast of the Holy Snakes of Mary in Kefalonia, Greece and its surroundings, and images of the sun's activity from the day of the feast and from the days in which the images were edited. To produce the morphic field, the images were embedded with compassionate intentions during networked rites on the Waterwheel platform.
As a digital file, the prototype morphic field could be utilized to induce compassionate intentions or environments in any setting in space-time. The compassionate intentions in the field are immaterial and therefore do not occupy any physical or digital space. The USB may be perceived as a symbolic container, yet it also functions as a digital signature and tracer of a morphic field phe...