ABSTRACT
Japanese media artists Masaki Fujihata, Seiko Mikami, and the Japanese–European group double negatives architecture are core examples of a participatory connectedness that has such cultural locational, architectural, and technological implications. Masaki Fujihata sets out to address in scientific experimentation the state of development with ambient computing and omnipresent networks. This chapter aims to raise awareness for creative practices that in aesthetic–technical ways reflect on networked information and communication systems. It discusses conceptual frameworks that have fostered thinking in complexity and have promoted a high level of connectivity. In view of complex media culture, artistic thinking in networks is a tool in reflecting on governmental and locational politics behind the technological drive into pervasive computing, as well as in raising discussions about the contextual attributes of the underlying conceptual framework. The difficulty of synchronizing computers in networks, as is necessary for performing exact interactions between us and machines, forms the point of departure for the experimental arrangement with orchids.
