These are links that navigates towards my Medium blog page.
Towards an extitutionalisation of education | by Iannis (John) Bardakos | Medium
Death by invisibility. Art creates a self-contained and… | by Iannis (John) Bardakos | Medium
Techno-mathematical categories, a proposal for artistic experiences | by Iannis (John) Bardakos | Medium
Towards an extitutionalisation of education | by Iannis (John) Bardakos | Medium
Death by invisibility. Art creates a self-contained and… | by Iannis (John) Bardakos | Medium
Techno-mathematical categories, a proposal for artistic experiences | by Iannis (John) Bardakos | Medium
Visit the Technoetic Arts Journal links : (Intellect publishing website / Pubpub page ),
The Roy Ascott Technoetic Arts Studio in Shanghai or my ORCID and Academia Page for more updates.
The Roy Ascott Technoetic Arts Studio in Shanghai or my ORCID and Academia Page for more updates.
My work and research intersect art and technology, particularly in the realms of Virtual, Immersive, and Interactive Arts, and are deeply informed by my involvement with generative AI, Speculative Research, and Cybernetics. In my leadership roles, I have been committed to merging technological advancements with creative practices, fostering environments where exploration and innovation at the digital media and immersive technology nexus thrive.
My pedagogical philosophy, which emphasizes the symbiosis of theory and practice, resonates with modern educational models that champion integrated learning experiences. My contributions to significant forums in the field, such as ISEA, TTT, and Ars Electronica, reflect my dedication to pushing the boundaries in VR/AR, metaversal AI-driven media arts, interactive storytelling, and the performative dimensions of cybernetic art.
Rooted in a strong mathematical foundation, I approach problem-solving with analytical rigor, infusing the creative process with ontological depth and a harmonious balance between practicality and abstraction. My commitment to interdisciplinary collaboration is central to my work, positioning me to contribute uniquely to the fusion of cultural technology in both academic and industry spheres, with the aim of driving forward societal evolution through innovative intersections of art and technology.
My pedagogical philosophy, which emphasizes the symbiosis of theory and practice, resonates with modern educational models that champion integrated learning experiences. My contributions to significant forums in the field, such as ISEA, TTT, and Ars Electronica, reflect my dedication to pushing the boundaries in VR/AR, metaversal AI-driven media arts, interactive storytelling, and the performative dimensions of cybernetic art.
Rooted in a strong mathematical foundation, I approach problem-solving with analytical rigor, infusing the creative process with ontological depth and a harmonious balance between practicality and abstraction. My commitment to interdisciplinary collaboration is central to my work, positioning me to contribute uniquely to the fusion of cultural technology in both academic and industry spheres, with the aim of driving forward societal evolution through innovative intersections of art and technology.
My research connects diagrammatics, virtuality, technomathematics, AI systems, and philosophy of technology ethics. I study how form emerges through recursive distinctions and feedback processes. Building on my work on self reference as a generator of aesthetic experience (Bardakos, 2015) and later research on membranes and systemic meta scapes (Bardakos and Apostolou, 2024; Bardakos et al., forthcoming), I treat artistic research as a method for producing knowledge through practice and formal analysis.
In my work, diagrams are operational structures. They describe relations and they generate them. A diagram becomes a tool for constructing and testing relational systems. The observer is part of the system under construction. Diagrammatic practice is therefore both analytical and generative across artistic, computational, and educational contexts.
Virtuality refers to structured potential. It defines relational environments in which experience changes through interaction and repetition. Knowledge develops through recursive modification. These environments combine physical material, code, and perception. They allow the study of how meaning and form are produced by human and technical agents working together.
Mathematics provides a precise language for modeling structure, probability, topology, and generative processes. In my ontology of Technomathematics, aesthetic production and mathematical reasoning operate together. Formalization clarifies how forms emerge, stabilize, and transform.
AI systems participate as collaborators inside socio technical systems. Their constraints, training structures, and decision procedures are examined as ethical and epistemic variables. This informs my work in AI mediated education and conversational systems, where cognition is distributed across human and technical actors.
The concept space model translates abstract relations into structured environments. These spaces allow co authorship between human, machinic, and material participants. Learning is understood as structural coupling and iterative adjustment within shared systems.
Across visual, sonic, narrative, and behavioral domains, I investigate alternative modes of form generation. Form is treated as metastable configuration rather than fixed object. Interactive installations, generative systems, diagrammatic modeling, and recursive narrative structures function as experimental platforms for examining transformation.
Logic provides distinction. Cybernetics provides feedback regulation. Systemics provides relational organization. Together they support a method focused on recursion, emergence, and structural change. Aesthetics is approached as relational evaluation within technological and cultural conditions. My research proposes models of knowledge production that integrate artistic experimentation, formal reasoning, and ethical analysis within complex technical environments.
Dr. Iannis Bardakos
