History of light via blouin artinfo

HISTORY OF LIGHT: The Pioneers, From Robert Irwin to Anthony McCall

HISTORY OF LIGHT: Heirs, From Olafur Eliasson to Ann Veronica Janssens

HISTORY OF LIGHT: Rising Stars, From Ivan Navarro to Katie Paterson

HISTORY OF LIGHT ART: The Market (Part 1)

HISTORY OF LIGHT ART: The Market (Part 2)

http://www.blouinartinfo.com/news/story/912040/week-in-review-from-turrell-to-turkey-our-top-visual-art

"An orchestrator of experience"_James Turrell

"I am interested in this new landscape without horizon. If you go into the Ganzfeld pieces it is a little bit like the landscape that you can find when flying around through cloud or fog. You can also find it in 'whiteout conditions' when you go skiing and get into snowfall, it can happen that you are not really sure anymore which way is up or down. This occurs in diving, too. We are moving into the territory of horizonless space that you can also experience in outer space without gravity." 
- James Turrell
from https://www.facebook.com/JamesTurrellArt

Chuck Close once described his fellow artist James Turrell as "an orchestrator of experience, not a creator of cheap effects. And every artist knows how cheap an effect is, and how revolutionary an experience.”

 

 

 

 

The Ganzfeld effect.

 

http://en.wikipedia.org/wiki/Ganzfeld_effect

 The Ganzfeld effect occurs naturally in situations like snow storms (white out), thick fog, and conditions of total darkness, where our field of vision is uninterrupted by any information (visible contours, changes in texture, light reflections, edges) that would otherwise help us to construct a coherent three dimensional interpretation.




George Poonkhin Khut on James Turrell.

The spatial ambiguities created by Turrell's perceptually focused experiences produce an intense sense of other-worldliness. Our perceived presence within such situations gives rise to an equally transformed, otherworldly experience of self and it’s sense of being in the world, invoking the mysterious edges of our own personal journey between birth and death at the thresholds of perceptual becoming and unbecoming. While light and luminosity have long been associated with mystical or transcendent experiences, the intensely suggestive power of Turrell's perceptual works resides more in the way it alters our perception of space and our sense of self-location within it.

Khut, G. (2006). Development and Evaluation of Participant-Centred Biofeedback Artworks. PhD,
University of Western Sydney, School of Communication Arts, Sydney.

Eno

Jean Blanchard

Jean Blanchard (1753-1809) designed a hydrogen balloon with flapping devices to control its flight.
 more here

Kathrine Elizabeth Anker The Sense of Being Moved

'I see the space of installation art, based on new technology and science, as a possible laboratory or the speculative 'mind', to which such investigations could be successfully related. I find that contemporary installation artworks can-if successful-induce an activation of processes intrinsic to the bodymind, which can bring forward new imaginations, new metaphors and extended self-understandings' (Anker, 2010 p.167) 

Ref from JP 

So could this be related to wellbeing? Or emergent creativity through technology? 

disruption, emergence and creativity. Post confirmation thinking

"We live in a world where everything seems possible and as a consequence have lost the sense of wonder" Lukic (2011) #urbanIxD #PhD http://urbanixd.eu/

Emergence = Much coming from Little (Holland)

“Something is happening in crying, for example, that goes beyond any strategic
‘work’ that the person may be ‘doing’ and that is not captured by discriminating
the interaction ‘practices’ the person’s behaviour demonstrates. Some sort of
feeling arises. Between oneself and the world there is a new term, a holistically
sensed, new texture in the social moment, and one relates to others in and
through that emergent and transforming body for experience. A kind of
metamorphosis occurs in which the self goes into a new container or takes on
a temporary flesh for the passage to an altered state of social being.”

in  Katz (1999), p343 cited in The Aesthetics of Emergence: processual architecture and an ethico-aesthetics of composition (p.24)  Pia Ednie-Brown

"..the problem of emergence itself. Simply put, this problem lies in a diffi cultly reconciling two apparently disjunct, but intrinsically connected and equally real occurrences: the
nature of the whole and the action of the parts".
in The Aesthetics of Emergence: processual architecture and an ethico-aesthetics of composition (p.41)  Pia Ednie-Brown

"Emergent phenomena are properties that seem to exist at a different
level to the interactions that generate them. They are properties of a
whole that seem magically disconnected from the properties of its parts.

For creative practices such as art and architecture, emergence generally appears
as an issue in relation to works that involve digital computation and interactivity.
Inquiries are commonly concerned with the invention of generative
and/or interactive systems (or designing a design system rather than
a design product)". (p.59)

aesthetically inclined notion of emergence as an elastic, dynamic model pertaining to
a mode of engagement, a way of relating, a perceptual orientation and a
mode of composition. (p.68)

"As a companion to the aesthetic and the ethical, emergence is a way of appearing, making, acting, doing; a mode of composition or an organising principle that always involves drawing forms of coherence out of a texture of collectively transformational patternings."
from The Aesthetics of Emergence: processual architecture and an ethico-aesthetics of composition (p.98)  Pia Ednie-Brown

Holland, J,. (1998), Emergence. From Chaos to Order. p.231

emergent interactive art systems:

How do emergent interactive art systems creatively transform subjective experiences of spaces/places? #RQ #PhD

So-whats the difference between a space and a place?

Emergence = open ended. something new and surprising occurs. something that is different from whats expected and is more than the sum of the parts.
Interactive art systems = contextualised within the continuum of practice and theory.
Subjective = how one experiences something.

some thoughts....
Does my project concern the interaction experience or is it concerned with the experience that 'lingers' after or prior to a renewal of contact with the interactive art system? - my project resonates more with Edmonds' 'ambient' and 'relating' categories ( on p. 237) is my concern the transformative affect that anticipation and the 'touch point' of contact with the interactive art system has on the audience.
They have been engaged by the IASystem ( direct/attracted: Edmonds p. 237) but the sense of anticipation of another visit by the IA system transforms their experience of what ever context they are in.


The interactive system comes to them. rather than the audience going to the IA System. , perhaps they are in a particular space , ( school, hospital etc) but within that context the I As system roams, perhaps randomly, and comes across them at random moments. This disrupts their 'lived experience' but once attracted / or having had direct engagement ) with the IA system they seek to have further experiences of it- this is partly perhaps because of its unpredictability, but also its playful nature, That is that the IA System requires playful ness to become activated. It thrives on random acts of play. The boundaries between the everyday  experience of a space are disturbed by the presence of a meandering interactive art system.

and then there is this: electro - active polymers and Shape shifting..

 Shape shift by Manuel Kretzer

Electroactive Polymer (EAP) Robot Blimp and not as beautiful but interesting..Electroactive polymer (EAP) balloon actuator Inflated electroactive polymer (EAP) actuator driven by dielectric elastomers. The actuator was developed at Empa Dubendorf (Switzerland). More detailed information on this novel actuator technology can be found at www.empa.ch/eap/.

Reading and having mind blown ( again) by Interacting: Art, Research and the Creative Practioner.

From Linda Candy and Ernest Edmonds at the Creativity and Cognition studio at UTS. Lots of Schon -Reflective Practitioner (1983) and Dewey - Art and Experience (1934) with rigorous commentary by Scrivener.
"In projective reflective practice the maker must make ways of making a situation that perplexes, …this is the second feature of art and design knowledge production, as distinct from problem solving production.
That is to say practice that willfully seeks to yield artifactual situations…
in short a practice of 'problemitising' everyday practice for the purposes of generating the unexpected. ..it is the gap between prior understanding and surprise which constitutes new knowledge and understanding" ( p. 70) 

reading and re-reading ,writing and distraction..

Reading and re-reading ; Sullivan; Art Practice as Research-braided inquiry- and Candy and Edmonds :Interacting:Art,Research and the Creative Practitioner. George Khut's Participant centered Biofeedback artwork thesis. http://georgekhut.com/. Inspirational..

Writing; Methodology, well trying...

Distracted; by The Event of a Thread,  Installation by Ann Hamilton.

Thinking about #wngtnLux, #Belugas and whats next - playful interface, hmmm

which loops me nicely back to Sensorium

I read this a while ago, but I think I'll need to revisit it after looking at Beesley's Kinetic Architecture over the last couple of days. Sensorium is here at Amazon. 
The relationship between the body and electronic technology, extensively theorized through the 1980s and 1990s, has reached a new technosensual comfort zone in the early twenty-first century. In Sensorium, contemporary artists and writers explore the implications of the techno-human interface. Ten artists, chosen by an international team of curators, offer their own edgy investigations of embodied technology and the technologized body. These range from Matthieu Briand's experiment in "controlled schizophrenia" and Janet Cardiff and Georges Bures Miller's uneasy psychological soundscapes to Bruce Nauman's uncanny night visions and François Roche's destabilized architecture. The art in Sensorium--which accompanies an exhibition at the MIT List Visual Arts Center--captures the aesthetic attitude of this hybrid moment, when modernist segmentation of the senses is giving way to dramatic multisensory mixes or transpositions. Artwork by each artist appears with an analytical essay by a curator, all of it prefaced by an anchoring essay on "The Mediated Sensorium" by Caroline Jones. In the second half of Sensorium, scholars, scientists, and writers contribute entries to an "Abecedarius of the New Sensorium." These short, playful pieces include Bruno Latour on "Air," Barbara Maria Stafford on "Hedonics," Michel Foucault (from a little-known 1966 radio lecture) on the "Utopian Body," Donna Haraway on "Compoundings," and Neal Stephenson on the "Viral." Sensorium is both forensic and diagnostic, viewing the culture of the technologized body from the inside, by means of contemporary artists' provocations, and from a distance, in essays that situate it historically and intellectually.Copublished with The MIT List Visual Arts Center.

robo-cyborg-interactive-playful-thinking

Pondering how create an participatory intervention/disruption in the hospital space- flying great but poses all sorts of logistical issues. so sensors in the space and wall, floor or ceiling mounted 'creatures' may be the way to go. David Bowen's telepresent work suggests some concepts.


remote infrared drawing device from david bowen on Vimeo.
remote infrared drawing device consists of four individual drawing arms which are installed in a gallery space and are connected to four different infrared sensor arrays. The sensor arrays are mounted in different locations throughout a particular building. The information gathered from the sensor arrays, through people's interaction with them, is sent to each corresponding drawing arm. The drawing arms move in real time based on the information they gather.

www.dwbowen.com


https://vimeo.com/21019580

Having a look at Bioconstructivism and Detlef Mertins

from http://slipscale.blogs.cca.edu/category/detlef-mertins/

reading Kinetic Architecture and Geotextile installations, Philip Beesley

A key term in my pursuit is empathy, My use of this term draws upon aesthetic theory that examines nuanced relationships involving projection and exchange. Combining terms of mechanism and empathy, I hope to develop a stance in an intertwined world that moves beyond its closed systems. By drawing upon recent revisionist readings of cultural history , I want to develop a sensitive vocabulary of relationships. In the terms of figure ground relationships the figures I compose are riddled with ground. (p20)

Aesthetics from Affect Theory reader + thoughts

Aesthetics= "nothing less than the whole of our sensation life together- the business of affections and aversions, of how the world strikes the body on its sensory surfaces, of which takes root in the gaze and the guts and all that arises from our most banal, biological insertion I to the world"(Eagleton 1990, 13 in Affect theory reader p 121)

Aesthetics= primarily concerned with material experiences, with the way the sensual world strikes the sensate body, and with the affective forces that are generated in such meetings. Aesthetics covers vehement passions-( fear, grief rapture )and so on and the minor and major affects and emotions ( humiliation, shame, envy, irritation, anxiety , disdain and so on)( see fisher, 2000,Ngai 2005 and Altieri 2003)  it is attuned to forms of perception , sensation and attention( distraction, spectacle concentration, absorption, for eg)  relates to De Bord?

.to the world of the senses( haptic, aural, gustatory, olafactory, and visual) andtothebody ( as gestalt and in pieces) ( see Heller-Roazen2007)

Most importantly it would've concerned with the utter entanglements of all these elements.  (P 121)

How does this fit with relational aesthetics? Maybe it doesn't. The concern with material experiences does perhaps, as does the notion of emotion (haha!) but I think these sensory elements must meet the'audience, participants, public so that Affect starts a converstation with relational aesthetics. Perhaps this is a way of theorising  Olafur Ellison, Carsten Holler, Dan Roosgaarde an locating them within a context and continuium?

http://en.wikipedia.org/wiki/Carsten_H%C3%B6ller#

supervisors meeting

Problem setting is a process in which, interactively, we name the things to which we will attend and frame the context in which we will attend to them (Schön, 1983, p. 40)