Thinking about manifestos, this seems to resonate somehow with both life and art. https://www.youtube.com/results?search_query=Art+Meets+Science+and+Spirituality+in+a+Changing+Economy https://hirshhorn.si.edu/wp-content/uploads/2012/04/An-Artists-Life-Manifesto.pdf
Notes for the collaborative Art & Bio-science Workshop at Lancaster University, UK on Monday 17th to Wednesday 19th December 2018I had a very interesting 3 days at Lancaster University participating in the Synanet workshop. The idea was to bring together interdisciplinary practice across the sciences and arts, to explore ideas in neuroscience research and BioArt. The workshop “aimed to DISRUPT dogmatic thinking across these disciplines, ENCODE new approaches and insights through shared interactions and CONSOLIDATE these ideas through artistic expression” https://cheapjack.github.io/DisruptEncodeConsolidate/ It consisted of scientific demonstrations and hands-on activity was to provide insight into the theory and practice of neuroscience research. FMRI [functional brain imaging] behavioural analysis in mice and Fruit Fly’s and Sand Fly’s, And some presentations about the “gut-micro-biome-brain interface”. Most interestingly “ …The workshop aimed to
"Schilling's work is a discourse on the anatomy of illusion. a return to the physical experience of perception. this work locates the visual experience in the brain by completing its visual text there. The art of Schilling opens up a critical dialogue between the arts. This view of art as a sense experience, as the convergence of the work and the perceiver, which brings the work into existence, establishes the basis of that experience as a means of deconstructing reality and constructing through that experience a path toward a renewal, and the opening up of the perceptual (sense) experience." John G. Hanhardt, Curator of Film and Video, Whitney Museum of American Art, New York 1977. Random Dot stereo works https://www.alfonsschilling.net/werke/randomdot-stereo/ http://www.vasulka.org/archive/Artists6/Schilling,Alphons/SchillingPoster2.pdf http://www.vasulka.org/archive/Artists6/Schilling,Alphons/ElectronicSpaces,etc.pdf An article discussing the
Carsten Holler is a key example within this study, often re- appropriating science for the purposes of art. Staging ‘Quasi-scientific’ experiments (Windsor, 2018) which transform the gallery into a laboratory. Often disorientating the viewer, or more appropriately, the participant. As well as the large-scale installations smaller performative works such as ‘Kit for Exploration of the Self’ (Carsten. Holler, 1995) take the form of durational perception changing instruments such as ‘Upside Down Glasses’ (Carsten Holler, 1994-2018). These both directly re-appropriate methods from experimental psychology (Stratton, 1896). Many of the works require the participant to travel through them or offer the opportunity to make decisions of which there are no return or unknown outcomes, further reinforcing this active notion of experience as
Labyrinth Psychotica is an artistic research project that aims to simulate the experience of psychosis. It uses multisensory [tactile and sonic] elements in combination with the maze environment, to create a fully immersive experience. The maze mechanism also serves as a metaphor for attempting to get inside the mind of another. The investigation aimed to not only portray an experience of psychosis but one that was ‘artistic’. It further asks if such an endeavour could prove ‘useful’. Though I can only speak from my experience of the work , it did seem effective in conveying elements of this experience, such as; loss of personal boundaries, and blurred borders between the body and space. Another element which resonates with Action Lab is the
Speaking with an artist while making plans for a future Action Lab, I came up with the idea of making these lenticular glasses [Above], which use a lenticular lens [textured with lines or ridges] which have the effect of dividing the visual field into lines. In an urban or interior space, vertical and horizontal lines are common. These become enhance or reduced depending on the orientation of the lens. Using the lens in a vertical alignment, steps become invisible, but when the lens is rotated they become enhanced. Using a combination of both things get even stranger. Point light sources create strong bright lines. I have yet these in a natural environment.
I teamed up with artist Annie Carpenter to pull together a small group of artists and friends for a night of ‘fieldwork’. We organised an overnighter to do some experiments and have discussions together in the relaxed atmosphere of Middlewood Trust study centre; an off-grid permaculture farm. I had worked here before with [Annie and Sam Illingworth] doing some workshops with their students on a previous 'field research' style project. The concept captured my interest. We wanted to create a situation where we could work as well as have time and space to chat about ideas with others. My equipment consisted of my laptop, Arduino, [with a relay shield for experiments] and some electronics, GoPro, 360-degree camera. Also a heavy rechargeable
In this experiment, they created a simple device [Hearspace App] incorporating a compass and headphones. It "allows users to reliably hear the direction of magnetic North as a stable sound object in external space on a headphone. They found that "long-lasting integration into the perception of self-rotation. Short training with amplified or reduced rotation gain in the magnetic signal can expand or compress the perceived extent of vestibular self-rotation, even with the magnetic signal absent in the test" I was struck by this statement "sensory substitution and augmentation research has aimed to restore sensory functionality from non-invasive afferent signals of artificial sensors...there has been little concrete evidence that truly perceptual experiences have ever been obtained via this approach" Sensory augmentation: integration of an auditory
“ What do new immersive technologies, such as augmented reality, virtual reality and artificial intelligence, offer storytellers and makers? And do they change the stories we choose to tell audiences? Two internationally renowned digital storytellers and makers present their latest creative projects and help us to find answers to these questions.” Notes from 'Making Immersive Experiences 1: Lance Weiler, Storytelling Lab, Columbia University + Chris Mullany, Marshmallow Laser Feast' Organised by Immersion Research Group, Manchester Metropolitan University Immersive storytelling is not something I have really ever thought about in relation to my work, however, I find the ideas discussed resonated strongly with my own practice and collaborations I have been part of. While listening to the speakers I realised I have taken part in
I'm doing a workshop related to my research, perceptual illusions and altering perception through experiments, Clay hand illusion and other activities based on sound and light and taste, at Radiona Zagreb, 21-22/04/2018 https://radiona.org/ check out the web Re-mapping the senses workshop page and resources here...
When I first learned about the Rubber hand illusion [RHI] I immediately began to think about ways in which the process could be automated to create an artwork, in which the experimenter's presence was removed. This could be done using sensors and a microcontroller to articulate solenoids to tap fingers for example. That thought train was on a back burner until discovered the work of fellow MMU PGR Lin Charlston. As part of her PhD research [See her profile here 'The Multimodal book as organism, artefact and assemblage: non-human agency in processes of growing and making'] She invented a beautifully simple, entirely mechanical device just to do exactly this. Your hand is placed inside a box, while the other hand turns a crank. On top of the box, another rubber hand
I have previously posted about the original 'rubber hand illusion' in which participants are convinced a fake rubber hand is their own. A classic low tech experiment that can help us "understand how sight, touch and “proprioception” the sense of body position, combine to create a convincing feeling of body ownership, one of the foundations of self-consciousness (Nature 1998, vol 391, p 756 )” Further to this research recent studies have gone on to experimentally induct of out of body experiences or create body swap illusions. [ Henrik Ehrsson and Olaf Blanke http://www.eurekalert.org/pub_releases/2007-08/ucl-foe081407.php ] Between these two experiments, several interesting versions of hand-related experiments also exist which demonstrate the plasticity of our body perception... The Alien Hand Experiment first created in the 1960s predates the Rubber hand experiment, seems more 'trick'
[vimeo 75419053 w=640 h=360] James Turrell's Light Reignfall @LACMA - Andrew van Baal James Turrell's Light Reignfall Light Reignfall is a work from his series of perceptual cells, inside the participant is exposed to a uniform homogenous field of modulated light. A combination of sensory overstimulation, yet deprived of recognisable forms or space, hallucinatory effects are experienced. “Assisted by an attendant, an individual viewer enters a spherical chamber on a sliding bed. A program of saturated light (operated by a technician) surrounds the viewer for twelve minutes, allowing the visitor to experience the intense, multi-dimensional power of light and the complex seeing instrument of the human eye.” "James Turrell (b. 1943, Los Angeles), a key artist in the Southern California Light and Space movement
Olfactory art or Scent art has been growing over recent years, And I would agree with the premise, that 'it has been long disregarded as one of the lower senses' [scentart.net] I remember turning up for the opening of my own exhibition and discovering that along with the beverages, a selection of delicious snacks had been presented on tables placed inside the gallery space. The smell of the food filled the gallery and I felt at the time that this took away from the work. The smells that would have accompanied the work would have been, hot electronics and detergent. perhaps a hind of coffee from another experiment. Here are a few links to useful sites/research on the subject: "The sense of smell has long been