"In an artistic exploration, clay hands and non-hand-like, unfeasible clay objects were created by the participant and used to perform an alternative version of the rubber hand illusion. Most participants felt ownership even over these unfeasible objects, raising questions about the embodied experience of objects that we make." https://journals.sagepub.com/doi/full/10.1177/0301006620948502
Workshops at Manchester City Art Gallery The aim was to deliver an engaging fun activity for all the family which related to the theme of the body and ideas around perception illusion referencing the Leonardo show as well as the Bridget Riley drawings in the Gallery. The workshop was open as a drop-in open to the general public and over the 8 days, we had around 800 people take part in total. The workshop served as an introduction to the idea of ‘perceptual and multisensory illusions’ and was based around my Clay Hand Experiment. I asked participants to work collaboratively to create their own hands and 'unfeasible objects 'with which to perform their own experiments on each other. It provided a
I supported some seminars on the Rubber Hand Experiment with undergraduate psychology students, presenting some of my research ideas [unfeasable objects and the Clay Hand Experiment] The idea was they experience the experiment for themselves before designing their own.
This was the first of the public workshops performed specifically for my research. My experiments so far have taken place as 1-1 sessions in artists studios or at the university. In a more open drop-in format, the participants were invited to experiment on themselves. Opening up the environment to one of play rather than pure participation. Breaking the experimenter/participant loop, creating a flexible relationship between myself and the participants. This was more in keeping with the idea of a phenomenological investigation allowing the experience to ‘unfold’. This had a dual effect of actively involving and empowering the participants while being able to observe the process from the outside. This meant notes and make recordings could be taken more effectively. Further reading:Read more
I chose to draw each clay object created for the unfeasible objects experiments. Why? The photographs don't seem to do justice to the significance of the object, its purpose and the process its undergone. Both with my self and the participant. They say drawing itself is a form of embodiment. "In the gesture of a drawing, there abides the question of how human beings hold memory. A trace of the body, the projection of an emotion, a record of the experience of seeing are woven into the gestured mark, a kinetically vitalized inscription that can serve as a site of empathy and invitation as much as a line of mimetic description" Marking Time, Figuring Space: Gesture and the Embodied Moment. Sara Schneckloth The
Some documentation from the workshop at Radiona in Zagreb [See Re-mapping the senses workshop] [For more information about the clay hand experiment see here] [For more information about the clay hand experiment see here]
[wpvideo VartTqKO ] My experiments show a strong ‘drift’ in the perceived location of the hand before and after the experiment. This is known as proprioceptive drift. I asked people to locate the position of their index finger under a platform before and after embodying a clay object. And also draw their hand blind before and afterwards. This animation shows these superimposed, illustrating the drift away from the real location of the hand. The experiment shows how reactive and plastic this internal sense of body position and shape is.
Further to my last post detailing experiments relating to the embodiment of invisible and even third hands, here are some notes on my first 'Clay hand Illusion' experiments... The ‘Rubber hand illusion’ shows it is possible to convince participants that a rubber hand is their own by placing it in front of them while stroking it in the same way as their hidden real hand. The use of self-made clay hands, or objects [see below] in place of the rubber hand raises several interesting possibilities for exploration, which move away from the embodiment of replica body parts, and towards the possible embodiment of modified body parts, or completely 'unfeasible' objects.The clay allows for the gradual and immediate morphing of forms and for the