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The BirdMan: hybrid perceptionJeong Han Kima, Hong-Gee Kimb & Hyun Jean Leec

a Seoul Women's University, Koreab Seoul National University, Koreac Yonsei University, Seoul, KoreaPublished online: 19 Mar 2015.

To cite this article: Jeong Han Kim, Hong-Gee Kim & Hyun Jean Lee (2015) The BirdMan: hybrid perception,Digital Creativity, 26:1, 56-64, DOI: 10.1080/14626268.2014.998684

To link to this article: http://dx.doi.org/10.1080/14626268.2014.998684

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The BirdMan: hybridperceptionJeong Han Kima, Hong-Gee Kimb andHyun Jean Leec

aSeoul Women’s University, Korea; bSeoul National University, Korea;cYonsei University, Seoul, Korea

jeonghan@swu.ac.kr; hgkim@snu.ac.kr; hyunjean@yonsei.ac.kr

Abstract

Why should we commune with the environment sur-rounding us? It’s because communing is the most eco-logical strategy for human beings, who coexist withother humans and even other creatures, whereas thereis no way of knowing the experience of other creatures.‘Qualia’ are none other than relational properties in acomplex system of human beings in nature. Thisarticle explores how to perceive others’ perceptionthrough a BirdMan experiment. The BirdMan, a half-man and half-beast creature, born in a subconsciousness,attempts to share its mind with others. As a venue fornew experiences transforming and recreating humanperceiving experiences, the work becomes a meta-meth-odology exploring the meaning of other beings’ experi-ence. While encountering in between differentperceptions with hybrid perspectives, ecological narra-tives and empathy can be realised. It suggests to usthat the way we perceive and understand this world isnot the only way.

Keywords: BirdMan, embodied cognition, hybridperception, qualia, ecological commune, empatheticmind, narrative

1 Introduction

1.1 Artistic and ecological possibilities ofperceiving the others’ perception

BirdMan is a virtual creature that appeared in anartist’s dream due to a traumatic and distressingexperience. We consider it as a metaphor to rep-resent hybridity of perception and identitybetween the self and the other; from this inspi-ration we have developed an artistic and semi-scientific experiment for hybrid perception. Thegoal is to explore the possibility of perceivingothers’ perceptions, to commune with them andwith the world at large. The semi-scientificapproaches are based on the theories of ‘embo-died mind’ in cognitive science and new mediainteractive digital technologies. We suggest thatnon-linguistic metaphors based on a newhybrid perceptual device and narratives can bemethodologies by which we can ecologicallyempathise with others. We ground our worktheoretically in the thought experiment of themind–body problem by Thomas Nagle (Nagle1974) and theories of ‘qualia’ by philosophersand cognitive scientists including DanielDennett (Dennett 1992). In addition, weexamine how zookeepers communicate withanimals, based on scientific knowledge such ascognitive scientific research on eye movementand ornithological research of a bird’s visualsystem, and an artwork consisting of a hybridperceptual device created as an interactive instal-lation within the context of a natural history

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museum. This article provides a scientific analy-sis of the artwork and aesthetic theory of hybridperceptions and identities.

2 Hybrid perceptions, identities, andqualia

2.1 Why we do want to commune with theothers and the world?

We communicate with the environment that sur-rounds us because that is the most rational strategyfor us as human beings who coexist with otherhumans and even with other creatures. Can wecommune with the Other besides human beings,such as animals, plants and inanimate objects?Although linguistic communication would beimpossible with them, can we communicate withthem in a non-linguistic way such as withempathy?

Gibson’s ecological theory (1986) interpretsperception as an inferential process, or as a recon-struction of the whole body from a bare skeleton.According to his concept of ‘affordance’, thestimulation around an organism is structured andthe centre of the nervous system, including thebrain, does not need to process sensory stimuli inorder to obtain information, but needs only to res-onate with the information already within thestimulation (Shapiro 2011, 29–30). He also con-siders perceivers as actively exploring theirenvironments. So actors collect information thatwould otherwise be unavailable, which createsnew perceptions.

According to Beer (2003), a dynamicist, ourbrain, body and the world are coupled. Thismeans that understanding the behaviour of onecomponent requires us to understand the behav-iour of another. The environment, body andbrain are all dynamic systems that are continu-ously interacting with each other. The brain as anervous system is embodied and the body is situ-ated. Following this concept, how can we experi-ence another’s perceptions (multi-point of views;viewpoints based on the circle of causalityinvolved in brain, body and environments) in thenatural world?

2.2 BirdMan and shamans with hybridperception and identity

BirdMan is an artist’s alternative personality (alterego) on which his hybrid perception and identity isprojected. In Korean tradition, some shamans canshare their own bodies with the deceased soul.Whenever a shaman is possessed by the spirit ofthe dead, s/he acts, speaks and senses likeanother person, as if borrowing the perception ofthe deceased. This moment looks like a coexistentstate of the living body and the dead in which per-ception and identity of the two is hybridised.Throughout North Asia, shamans used to wear aplumed hat and Sotdae, a tall wooden totem polewith a carved bird on its top. Carved birds onSotdae are usually ducks, wild geese and gulls;religious and symbolic animals that were believedto communicate with the heaven, the water, theearth and the human beings.

Park’s study of relationship between shamanicnarratives and hybrid identities due to dislocationindicates that the Korean shamanic ritual, ShinKut, functions as the context as for a youngshaman suffering from dislocation. The initiationinvolves experience by transformation and over-comes sufferings such as dislocation, disconnect-edness and powerlessness through rituals. Afterthe initiation, a young shaman can obtain ahybrid identity through engaging with spirits andother persons (Park 2011, 44)

The BirdMan embodying the psychologicalfear of birds and guilt for negligence is a sort ofshamanic creature for connecting and relocatingthe dislocated identity and mind in a post-indus-trial social context, where art remains one of thefew cultural practices that retains the mythicforce of traditional ritual.

2.3 What is it like to be a bat? (ThomasNagle)

In ‘What is it like to be a bat?’, Thomas Naglewrites that since the human imagination islimited by that which we can embody or whichwe know from prior experience, we can neverknow or understand what it is to be a bat. Accord-ing to him, there is no way for human being toknow and experience the bat’s experience

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through reductionist thinking. He criticised areductionist in error, insisting that the mind–body problem was unique unlike reductionalmaterialism such as the water:H2O problem orTuring machine:IBM machine problem or thegene:DNA problem (Nagle 1974). Nagle’sdilemma is also a core problem in the BirdManproject: how to integrate the physical body andthe mind?

In his recent book, Mind and Cosmos, themind_body problem is not a local problem withthe relation between mind, brain and behaviourin living animal organisms, but is related to ourunderstanding of the entire cosmos and itshistory. The understanding of mind is notenough to be explained in the personal point ofview, because mind is partly formed from relation-ship with physical world (Nagle 2012, 3, 8).

2.4 How do we share our raw feeling,‘qualia’? (Daniel Dennett)

We represent the philosophical concept of subjec-tive and objective feelings co-existing as one as‘qualia’. Daniel Dennett asserts that ‘the rawfeeling’, which is often called and misunderstoodas ‘qualia’, is not one of ‘seeing’ but one of per-spectives. It is not the individual’s private one,but is none other than a relational property in thecomplex system in between the perceiver and theperceived (Dennett 1992, 369–411). Based on

Gibson’s idea and Nagle and Dennett’s criticalmind, our problem space is composed asfollows: (1) Are there any possibilities of beingas much like the Other as possible? (2) WheneverI try to represent and compose the other’s lives,they are always distorted. How could this distor-tion be minimised?

3 The birth of BirdMan

One morning, as Gregor Samsa was waking upfrom anxious dreams, he discovered that in bedhe had been changed into a monstrousverminous bug. The Metamorphosis (Kafka2009)

3.1 The birth of BirdMan in a dream andthe artwork from the recall memory

Artist Jeong Han Kim’s personal trauma anddream sequences gave birth to the ‘BirdMan’ char-acter. The artwork represents the artist’s desire tocommunicate and share his fascination with thishybridised creature. In the work, the artist explorespossibilities for human beings to overcome theirown limitations in perception due to physicaland psychological reasons. This work was inspiredby the Buddhist epistemological idea that the‘Self’ is not different from the ‘Other’ (Fronsdal2006), as well as Gilles Deleuze’s ideas on

Figure 1. Binocular rivalry and transformation from the horizontal eyes’ position to the vertical eyes’ position ; the skeleton of theBirdMan with a wing and a human arm, shows the traces by which the atrophy of vertically positioned eyes and the evolution to thehorizontally positioned eyes can be shown.

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memory that our relationship with time willalways be elusive and imperfect (Deleuze 1986).

As for the artist’s memory, BirdMan is thevirtual existence made by psychological trauma.Such psychological trauma was created with thesense of guilt and conscience about the non-human existence. The artist notes the origin ofthe BirdMan’s like this:

When I walked along the street at Times Squarein New York City in 2004, I saw a dead pigeonflattened on the road by a car. The bird’s wingwas torn. This reminded me of a forgottenmemory, my trauma. When I was younger,about 6 or 7, I had a severe fear of birds.One day, I had met a wounded bird in a deadalley, but I could not help it. It was a verystrange emotional shock for me. I felt bothfear and guilt because I could not help thebird. After then, as I did my best to understandwhy I felt guilt and fear of birds, I suffered morebecause I still don’t know why. Had the birddied feeling ill-will towards me?

Years later, as an adult, he dreamed of a monsterwith a bird head and a wing on only one side.This bird spoke to him in bird language and helearned its language.

The artwork BirdMan has been created in orderto overcome the trauma in the artist’s memory andto communicate with the bird. The methodologytaken for the channel of communication beginswith understanding the other and by scientificknowledge accumulated, such as ornithology.First, based on the personal collective memoriesand the ornithological knowledge, the part whichhas the biggest difference between the two exist-ences (men and birds in this case) was explored.As its result, the difference in the ability andsense of vision between the human and bird waschosen as the focus, although there are otherdifferences in motor ability between the twobased on the human body’s arms and bird’s wings.

In the human, each eye sees a slightly differentview of the world and this binocular disparityfunctions for human beings to recognise depthand distance perception. Human beings seeeither one of the oriented gratings or the otherbut not both together, and continue to alternateback and forth, which is called binocular rivalry(Alais and Blake 2005). Research for binocularrivalry is about questioning what happens whentwo completely different images, not the sameimage from different eye views, are presented toeach eye (Friedenberg 2012, 43–45). In

Figure 2. BirdMan: hybrid perception, interactive media installation.

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BirdMan artwork, audiences experience binocularrivalry between a human bare eye and a bird eyerepresented by the emulator.

The reconstructed skeleton of the BirdMan hasa human eye and a bird eye. What does BirdMansee? While humans can’t recognise thirty framesper second and have only one fovea on each eye,birds, highly visual creatures, can recognise 200frames per second, and some birds have multi-foveae. The fovea is a small depression in theretina of the eye where visual acuity is highest.Birds have a wider range of sight than humans.How does BirdMan’s brain synthesise two kindsof perception? Imagining a perceptual mixture ofa human and a bird eye, an emulator to approxi-mate BirdMan’s method of seeing is made.

The machine eye, mimicking the character-istics of a bird eye and a human eye, moves verti-cally and horizontally and takes the role of aninterface selecting and playing one of the recordedvideo clips about BirdMan’s memory. ‘Digitalautopoiesis (auto-creation)’ representing both

real-time perception and stored memory simul-taneously is thus realised.

3.2 Technical review of the artworkThe BirdMan eye-perception emulator is com-posed of two real-time video cameras, fourservo-motors, a PIC micro-controller, and Max/MSP/Jitter software. Video cameras capture andtrack the movement of an eye and send the real-time video. In the computer, Jitter (a visualprogramming application) sends two X–Yvalues of the pupil’s central position to themicro-controller. Then the micro-controllercontrols four servo-motors and makes the twocameras move horizontally and vertically accord-ing to the movement of the eye’s pupil. Thevideo image of the surveillance camera on theservo-motors is sent to Jitter again, and afterthat, the recorded video clips about BirdMan’smemories and video images captured in real-timeare composited together. These images areplayed like a ‘jump-cut’ with time delay and

Figure 3. BirdMan’s perception and memory emulator.

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Figure 4. The Eye-PD (perception drawing) system.

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repetition similarly to human memory. Along withthe device of experiencing BirdMan’s visual per-ception, the skeleton of BirdMan is installednext, and the overall presentation contextualisesin the natural history museum in order to makethis BirdMan as if an extinct animal.

4 New perception, metaphors andnarratives

At that time I had a daily ritual. I would go tothe Buddhist temple on the mountain behindmy house, to pray and perform 108 bows. Onthe path to the temple, my shadow alwayswalked ahead of me. It was impossible for meto pass it. I thought to myself that my shadowwas "’infinity with an end’,"moving with me.I understand human life in terms of ‘limits’and ‘relationships’. ‘Time’ is a ‘limit’ forhumans, as are the perceptions of the individ-ual. It is through ‘relationships’ that there isthe possibility to overcome these ‘limits’.People’s relationships participate in theopening of human limits through interactivity.(From the artist’s note written in 1999)

4.1 Talking or empathising with animalsand nature

This section describes the new perceptive worldcreated by the BirdMan through exploring thenew narratives by hybrid perception. This is tosearch for possibility of perceiving the other’s per-ception. Marc Hauser who wrote Wild Minds:What Animals Really Think (2001) says that bythe ability of distinguishing himself from theother we can determine that an animal can havea mind. According to his research, there are lotsof animals that can recognise their individualself, for example orangutans and rhesusmonkeys. He argues that besides primates, lotsof animals have a certain ‘tool kit’ of a collectivemental ability and can acquire knowledge regard-ing objects, numbers and spaces. In The Parrot’sLament (2000), Eugene Linden secures evidenceof animals’ thinking ability and consciousness

by collecting experiential stories from the zoo-keepers from all over the world. Through this,Linden introduces interesting experimentsshowing that animals also can understand themind and emotion of others.

These kinds of explorations are the efforts toovercome human-centred thoughts such as con-sciousness and mental ability, which have inevita-ble relationships with the human language orconfines of the language. Such attempts keepreminding us that the way we perceive and under-stand the world around us is not the only way.There might be diverse versions of consciousnessand mental abilities in perceiving this worldbeyond humans’ ones.

4.2 Communicating with the othersthrough three steps suggested by theBirdMan

The BirdMan artwork has been designed to takethe audience to a new world of experience.

4.2.1 Step 1: change your perceptions andconceptualise by sensing and acting

In the framework of ‘embodied cognition’, concep-tualisation is made through acting and sensing.From the informative object, it takes new percep-tion and turns it to new conceptualisation. TheBirdMan project began to ask the following ques-tions: How do you as a human being conceptualisethe world? In the world of BirdMan, can the audi-ence transform their perception and enabling themto collect information from others or alteredenvironments beyond their physiologically and per-ceptually situated environments?

4.2.2 Step 2: create your network ofreplacements (metaphor)

In Lakoff and Johnson’s (1999, 2003) theory, thecondition of the body determines basic concepts,which then participates in metaphors, which inturn permeates just about every learned concept.If this is right, then new perceptions create newmetaphors. In the perspective of theory of embo-died cognition, ‘replacement’ is the conceptbased on research of a dynamical system and

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autonomous robots. Dynamicists and roboticiststhink that brain, body and environment areinvolved in the circle of causality. Likewise, withBirdMan’s new perception, through the processof sensing and acting, the network which is com-posed of new metaphors is constructed.

4.2.3 Step 3: build your new embodiedconstitution and new ecology

The third step is a process to embody informationof perceptions and network of metaphors, whichare acquired during steps 1 and 2 throughhybrid perception and distortion of perception.New embodiment or constitution as ‘physicalqualia’(Jackson 1982), is composed of sensory-acting through new hybrid perception, newmetaphors, new conceptions, new environmentsand new ecology.

Using the BirdMan emulator, the audience issituated by transformed perceptual interactionswith environments, and they try to conceptualisethe world depending on comparing and network-ing metaphors. New perception evokes new con-ceptions.

4.3 Experiencing infinity with an endthrough life and narrative

‘The human, all too human (Menschliches, Allzu-menschliches)’ identity is an accumulation ofthese limited and distorted perceptions (Nietzsche1996). When the human’s experience of ‘time’ and‘interactivity’ are combined, the individual’s storyor narrative will be created. The story is a way toendlessly create meaning and significance, justlike life. As French philosopher Paul Ricoeurputs it, life resembles a ‘story’. A ‘story’ comesout of the human’s struggle to keep up with therapid flow of time (Ricoeur 1990, 100–152).

5 Conclusion

When the new ‘self’ and ‘others’ are combined intime and space with the device for hybrid percep-tion, we could expect that ‘qualia’ or ‘the mindbefore thinking’ create new identities in betweenthe individuals, including human beings and non-human beings. ‘Qualia’ are bridges and metaphors

through which we can communicate with eachother, and are also moments of the eventsthrough individuals who create their own narra-tives. This artistic and semi-scientific experimentenables us to make sense of what otherwiseseems like random, discontinues moments and per-ceptions. The narrative created with hybrid percep-tion is the combination of memory and biologicalrecords that creates a sense of identity. Ecologi-cally and creatively, humans are able to livedepending on the meaning of events they create,not through human judgment but through percep-tion as Other. We, as human beings, endlesslycreate our stories on the premise that there mightbe infinite ways to communicate with the others.We use them to create the idea of the self in thepast, in the future and in the cosmos. As BertoltBrecht once inspired us, ‘a human producingone-self is art, and that is life’ (Brecht 1964).

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Jeong Han Kim is Fulbright visiting scholar (Fall2014–Spring 2015) in DXARTS at University ofWashington, Seattle, USA and associate professorin media art at the Department of ContemporaryArt at Seoul Women’s University, Korea, where,in addition to being director of the B-MADEcenter (Bio-Medical Art & Design Education,see http://bmade.org), he is also researcher of theBiKE lab. (Biomedical Knowledge Engineering,see http://bike.snu.ac.kr) at Seoul National Uni-versity. From a background in media art, JeongHan Kim’s research areas include cognitivescience, biomedical art, design and scientific edu-cation based on artistic creativity.

Hong-Gee Kim is the director of BiomedicalKnowledge Engineering Laboratory (BiKE),

professor, and dentistry library dean at School ofDentistry, Seoul National University. Previously,he was an associate professor of ManagementInformation Systems at Dankook University. Heis adjunct professors in Computer Science, Colla-borative Medical Informatics Program, Collabora-tive Cognitive Science Program, CollaborativeArchiving Studies Program, and GraduateSchool of Convergence Science and Technologyat Seoul National University. At Seoul Women’sUniversity, he is a lecturer at the Department ofContemporary Art. Overseas, he is an adjunct pro-fessor in Informatics at the National University ofIreland, and visited Harvard University MedicalSchool as a visiting professor. He earned degreesin Philosophy, Psychology, and ComputerScience. He has authored more than 150 papersin journals and conference proceedings that coverdiverse topics in computer science, dentistry,biology, cognitive science, law, and industrialengineering. His current research interests includeSemantic Web in bio-medical informatics, Ontol-ogy Engineering, and Semantic Knowledge Space.

Hyun Jean Lee is a media artist (http://hyunjeanlee.com) and assistant professor ofMedia Art major at the Graduate School of Com-munication and Arts, Yonsei University, Seoul,Korea, where she is a director of Play MakersLab (http://playmakersworkshop.com) and also avice director of Media Art and Design Center, atthe Institute of Convergence Science, Yonsei Uni-versity. From a background in digital media andfine arts, Lee carries out research on new mediatheories which connect the artistic perceptionwith diverse digital media technologies. Lee’srecent research areas include video art and mediaart installation, interactive experience designthrough tangible and embedded interfaces, exper-imental game theory and design, pedagogicalapproach for digital literacy, and bio-medical art& design.

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