“Press the button if you notice a change in what you see.Keep the button pressed for the duration of the change.” See post on Mirror Gaze experiment.. http://antonyhall.net/blog/mirror-gaze-experiment-msp/
A manifesto to celebrate 20 years of Tabletop Experiments. 1. The Tabletop Experiment is essentially amateur and DIY in its endeavour. It concerns science as recreation and as a practice that necessitates its own re-creation. 2. It is assembled from items readily available in the home, domestic technology; kitchen utensils, liquid soap or aquarium parts for example. 3. It is based upon a specific phenomenon of interest; an artefact of subjective perception, the physical behaviour of liquid, or the physical behaviours of an animal for example. 4. It is a discrete environment: a device, or instrument, within which a unique phenomenon can exist. Ideally this should be a rapidly developed prototype, which affords an aesthetic interplay between materials and technologies, driven by incidental function and serendipitous accident. 5.
Osmosis is the gradual permeation of ideas between different fields. It implies a passive slow diffusion, an unconscious assimilation of knowledge. In biology it is a process by which molecules tend to pass through a semi-permeable membrane from a less saturated medium into a more saturated one. This leads to two mediums of equal saturation through a one-directional flow, resulting in two different volumes. These illustrations explore the idea of osmosis as a model for ‘collaboration’ as an alternative to the idealised collaborative sciart model often represented through the vesica Piscis [Fig. 1 and 2]. One in which ideas permeate through osmotic proximity  created by collaborative environment and mediums separated by a ‘proximal membrane’ through which ideas and knowledge
https://www.youtube.com/watch?v=cs48nJo3ukU&feature=youtu.be Emergent strange face from recent workshop at Manchester Science Park A night vision camera captured video during the experiment from behind the mirror[see diagram here]. This used the program Isadora to detect movement using a ‘difference filter’ and building up an image using 'shimmer' and 'motion blur' filters with a long decay rate. An image builds up based on the collective movements of all 3 participants. A collective strange face. Emergent strange face from Proximity project Emergent strange face from Proximity project
GANZFELD Translucent White Hemispherical Domes x 2 45mm diameter. Handmade signed edition of 20. Image: Anya Stewart Maggs Images from the Proximity show at Paradis works; I created these handmade cardboard box containing two ‘Ganzfeld Hemispheres’. These are translucent white domes perfectly shaped and crafted to fit in the eye socket, with elastic strap and small ceramic bead for adjustment. Inside are a set of instructions. A signed edition of 20 was produced as a workshop resource. The work is activated through its use, and the experiences that come through its use, and continued practice. Ideally, it should be stored alongside other items in the medicine cabinet. [See the current version of this workshop - Perception without object] I also showed a series of transcripts
Images from 'Seven Practical Experiments' workshop as part of Sum total of all the actions at Rogue artists studios. 1: Feldenkrais - See notes on the inwardly generated image (by deformation of the eyeball) 2. Anomalous perception scale Spontaneous sensations 3: Action intention paradox [See developmental notes] Alien hand 4: Concerning the inwardly generated image [See notes on Ganzfeld variation 1] 5: You are the object of your own observation [See notes on the mirror gaze experiment] 6: You are the object of your own observation. Mirror Gaze experiments in near darkness. 6: Perception without object [The perception of spatial relationships in respect to the orientation of one's body despite distracting information] See notes on Ganzfeld variation 2 7. The permanent possibility of experience. An based on the experiments of Ernst Mach [Notes to come]
A visual perception activity based on an Eyeball ATM [awareness through movement] an activity used in Feldenkrais [Teresa Brayshaw led the original session at the [Re]Action lab atLMJU] This session had the addition of generating phosphines in the eyeball through excitation and deformation of the eyeball.
Extracts from an experiment/performance with the Autoscope, to see if the feeling of disembodied/remote presence is amplified through taking on a challenging physical task, and to explore how this affects our perception of the landscape. Thanks to Andrew P Brooks for film and photography. "Autoscope builds on laboratory-based simulations of out of body experiences; the portable device allows the participant to freely navigate the world, experiencing themselves in 3rd person, as part of the landscape via a live video feed to a head-mounted display. The visual mechanisms are important in this illusion, but tactile and sonic stimuli further strengthen the effects. https://www.youtube.com/watch?v=yY7bs2Lih0Y&t=386s
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Autoscope builds on laboratory-based simulations of out of body experiences; the portable device allows the participant to freely navigate the world, experiencing themselves in 3rd person, as part of the landscape via a live video feed to a head-mounted display. The visual mechanisms are important in this illusion, but tactile and sonic stimuli further strengthen the effects. Autoscopy can be described as the disembodied perception of seeing one own body from an elevated or distanced location outside the body. The phenomena of the ‘out of body experience’ during heightened states of heightened consciousness or near-death experience tend to have spiritual or shamanistic connotations, but in recent times science has done much to demystify this phenomenon, identifying the neural mechanisms responsible.
In this experiment, which is now renamed the 'Alien Hands Experiment' one participant [A] places their hands under a flat-screen monitor. They then see what seems to be their own hands under the screen when in fact these are someone else's hands [B] who is mirroring their actions. The effect can be quite uncanny especially if the appearance of the hand contrast with their own [in scale, age or colour. Participants work together to lead or mirror the movements of what appears to be their own hands under a screen. After a short time, participants experience strange sensations which oscillate between a loss of agency over their own hands and feeling agency over someone else's hands. Action Intention Paradox uses a
For the Mirror Gaze experiment, I need a camera that works in darkness and can pick up Infrared light. Most webcams have an IR filter. Many such as this Logitech HD webcam have instruction online. Turns out mine was a slightly different model to this and meant that the entire thing needed dismantling and the camera module had to be unsoldered to get to the filter.
The meta-perceptual rail is a linear track along which mount mirror apertures and other props and stimuli can be mounted. It is used for meta-perceptual experiments, testing the limits of visual and meta-perceptual experience. It can be used as an introspective device to explore metaphysical and somaesthetic questions of our experiences and location self in relation to the physical body. 'Such rails are typically made of wood and designed to be very stiff. The rail normally begins with a chin rest followed by a graduated grove extending from this point. This allows other features such as holders for perceptual stimuli, filters, apertures, mirrors and cameras to be bolted down and precisely shifted along the length of the rail.'
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
My alloy backpack arrived and has proved perfect for the job of supporting a laptop and a 2m long boom. As an object, It certainly has a vintage feel and a clear aesthetic reference to Roman Signer. this seems entirely appropriate, something about the strangeness of the endeavour as well as the metaphorical notions of escape and travelling through the imagination.
"He felt dizzy, stood up, turned around, and saw himself still lying in bed. He was aware that the person in bed was him, and was not willing to get up and would thus make himself late for work. Furious at the prone self, the man shouted at it, shook it, and even jumped on it, all to no avail..." This article encapsulates some of the most important ideas, concepts and developments which lead towards the experiments on the simulation of out of body experiences. The article mentions Peter Brugger, Olaf Blanke and Thomas Metzinger, as well as some details of patient experiences, and the story of how this experiment came about. As well as the illusion of seeing one's self"autoscopy' There
"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
Inspired by last weeks conference and some examples of how artists are working with Eye Tracking, I went back to BEAM Lab the following week to start the process of learning how to set up my own experiment using Eye-tracking. My plan is to incorporate this with the strange face in the mirror experiment. My main problem is how do I calibrate the sensor - if I am to measure how they look at a reflection how do I map this precisely to the sensors. Normally the experiment has the participant looking directly at a screen surface, but how would this work with a reflected image? So I need to get a two-way mirror and perhaps get the participants to draw 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