PRESENTATION, our thoughts.

Relationship between a medium and our senses. How this medium can change our way of perceive things in live situations.

We want to research the reception of information not using the recognized physical senses but by using a medium to create a extra-sense.

Before we go on with some examples we want to talk “Neuroplasticity”.

 

Neuroplasticity is the changing of neurons, the organization of their networks, and their function via new experiences.

A notable person in the field of Neuroplasticity was American neuroscientist  Bach-y-Rita. He was one of the first to seriously study the idea of neuroplasticity and to introduce sensory substitution as a tool to treat patients suffering from neurological disorders.

In art a important figure in the field of sensory substitution was the Hungarian painter and photographer artist Laszlo Moholy-Nagy, as well as professor in the Bauhaus school. He was highly influenced by constructivism  and a strong advocate of the integration of technology and industry into the arts.

Examples of artworks/artists:

1) Bone Conduction

2) Glissando by Ulla Rauter

3) Stimuline

4) Pour Your Body Out (7354 Cubic Meters)” by Pippiloli Rist

Glissando by Ulla Rauter

 

 

 

 

 

http://vimeo.com/8150520

When the strings touch the skin a sound circuit is generated.

The small changes in the skin conductance – because of the external stimuli and internal processes – modify the resultant sound in volum and peech.

The sound is modified by:

– Changes in pressure of the bow on the skin

– Playing on different skin areas

– The change of conductivity due to sweat production (Nervousness, etc.)

– Sensors on the right hand, the further circuits close to allow an additional control of the resulting sound.

 

“Pour Your Body Out (7354 Cubic Meters)” by Pipilotti Rist

http://vimeo.com/3076656

“Pour Your Body Out (7354 Cubic Meters)” is a multi channel video installation. The piece is about 7354 cubic meters, as the name says.

Pipilotti merges fantasy and reality with this piece using the body as a landscape, creating a immersive, colorful and huge enviroment where the mind and body are reconciled.

The artist tries to melt the pice into the architecture of the museum (MoMa, NY).

The carpet is also designed by Pipilotti Rist.

*Maybe she doesn’t play directly with this “extrasenses”. However, she tries to make people expirience her pices with all their senses.

Stimuline

STiMULiNE is an audio-tactile performance by the artists Lynn Pook and Julien Clauss in which the group of participants wears futuristic seeming suits equipped with acoustic activators that transmit sound as an impulse on skin and bones. Sounds are thus not perceived through the outer membrane of the ear but are transmitted as the finest of vibrations through the entire body to the inner ear. It is a form of fictional concert without narrative structure that starts from the assumption that public sites for culture in real space will increasingly be replaced by virtual communication. STiMULiNE departs from the traditional concert situation and experiments with forms of perception of space and body. The participants lie relaxed on the floor while the two artists let the sounds move along and through the bodies. The presence of the public and the social interaction between the participants thereby becomes a central creative element.

Touched Echo

Touched Echo is a minimal medial intervention in public space. The visitors of the Brühl’s Terrace (Dresden, Germany) are taken back in time to the night of the terrible air raid on 13th February 1945. In their role as a performer they put themselves into the place of the people who shut their ears away from the noise of the explosions. While leaning on the balustrade the sound of airplanes and explosions is transmitted from the swinging balustrade through their arm directly into into the inner ear (bone conduction).

REPRESENTATION vs. GENERATIVE

TechnoSphere by Jane Prophet and Gordon Selley.

It was an online digital environment (1995) and hosted on a computer at a UK university. TechnoSphere was a place where users from around the word could create creatures and release them into the 3D environment, described by the creators as a “digital ecology.” Earlier incarnations of TechnoSphere didn’t have the advantage of web-accessible 3D graphics, but was still governed by chaos theory and similar algorithms that determined each creature’s unique behavior based on their components and interactions with each other and their environment. This online program was one of many digital artificial life simulations that evolved as the World Wide Web began to grow.

*Why is it Representative?

I think TechnoSphere is representative because you can try to create a small world or ecosystem in representation of the life in the earth.

So it’s a representation of our real world but on the internet.

*Why is it generative?

 I think it is generative because it has a lot of algorithms and determinate rules that determinated how the virtual ecosystem reacted. Furthermore, you could choose the “digital DNA” of your creatures.

STRUCTURALISM VS. GENERATIVE

Egyptian hieroglyphics.

* Why is it structuralist?

It is structuralist because of the atention it has to its form, moreover, the Egyptian hieroglyphics is a lenguague, so, somehow it has a sintactic construction.

*Why is it generative?

It is generative because a heiroglyphic is a process of understanding. So as a set of natural lenguage rules if you keep adding more forms to the heiroglyphic it will be transformed into antoher meaning.

MINIMALISM vs. GENERATIVE

(no real video, used to listen to the track).

data.microhelix from the album dataplex (2005) by Ryoji Ikeda.

*Why is it minimal?

Simple but really precise and audible patterns that run away from the ego of the artist. The artist makes a simple and pure expirience without any kind of comlicate recreation.

*Why is it generative?

It is generative because the artist creates a process which is then set into motion, in this case he transforms a source code into an audible medium; is a constant stream of data.

Algorithmic patterns.

IMMERSION VS. GENERATIVE

Ulf Langheinrich 
Hemisphere  

Hemisphere is gemaakt met de intentie om het publiek onder te dompelen in een minimaal en sober beeld. De voorstelling begint heel heftig en transformeert via eindeloze mutaties van geluid dat gecreëerd wordt volgens verschillende algoritmes en systemen. De geleidelijke verandering van verschillende parameters van het geluid hebben effect op het beeld, dat met het publiek meetrekt in de mutaties. Het geluid is helemaal onafhankelijk en lijkt een dimensieloze dreun, maar zuigt de toeschouwer mee. Begeleid door intens stroboscopisch licht stelt Hemisphere de perceptiecapaciteit van het menselijk oog op de proef.

CONCEPTUALISM VS. GENERATIVE

Condensation Cube

Haacke’s works were significant because they represented the rediscovery of and return to the original critical and emancipatory functions of modern art. “The consequence of these transgressions is to illuminate previously unnoticed myths, be they aesthetic, theoretical, or social, and to confront the instrumentalisms of thought and social practice which inevitably accompany these myths,” he wrote in his essay, “A New Modernity” also available on this website. The arrival of the new modernity that Haacke’s work facilitated, Fry nevertheless cautioned, was “neither utopia nor anti-utopia, but a condition of responsible freedom defended by eternal vigilance.” These concerns are reflected in Fry’s writings on Haacke through the 1980s and in particular around the time of Documenta 8, which he co-curated with Manfred Schneckenburger in 1985.

In his early work, artist Hans Haacke was already concerned with systems and processes. His Condensation Cube of 1963-65 [Clear acrylic, water, light, air currents, temperature, climate in exhibition situation; 30 x 30 x 30 cm; Collection of Edward Fry and Sandra Ericson] demonstrates the dependency of a relatively closed system on the environment in which it is situated: changes in temperature lead to the evaporation of water and its condensation on sidewalls of the cube.

Haacke’s condensation cube is a pedagogical tool still pertinent to understanding conceptual art and contemporary life. Questions to consider include: how does one frame or contextualize a work such as the condensation cube? What are its contents? To what degree is the cube a screen on which we can project our interpretations? Can this box be understood as a storage device, and if so, what is it storing?