Hydromedusa and pelagic octopus

drawing concepts and finding beautiful inspiration from good old National Geographic. #Kraken #Cocalux #uncanny

Hydromedusa in Antarctica

Pelagic Octopus

I'm loving Petting Zoo by @Minimaforms

 

Creative Applications link here 

and Minimaforms link here 

laser tests for the tenticles #Critters #PhD

#smokewhatsmoke?

jellyfish inspiration

http://www.thisiscolossal.com/tags/jellyfish/

A bucket of brains ( well Arduino, motors wires and stuff)

Prototyping of Critter number one well under way. #PhD

Brain boxes

Bread-boarding the brains. #Critters #PhD

prototyping of 'Critters' in full swing

I've been busily jamming stuff together in the FabLab,  first with #littlebits but now working out how these Critters will look and act.

 

from #TeamLab: Distilling Senses: A Journey through Art and Technology in Asian Contemporary Art

This from Collacubed Individual balls floating within an enclosed space communicate to each other via wireless connection. They change color and emit different sounds when touched by visitors or bump into each other or other objects. The balls send color information to other balls which in turn spread the information to other balls, changing all the balls to the same color. The piece is a metaphor for the internet and globalization in general. People act as intermediaries for information which so quickly travels via the internet globally, transforming the world in an instant and unifying at the same time.

Reading Dorothea von Hantelmann's essay on Carsten Holler: in Test Site (2007). the work seduces us to act upon ourselves.

The Valerio phenomenon cultivates this potential as a kind of everyday technique. The slides however introduce it into the museum. Being the place where our most differentiated ways of relating to objects and their symbolical meaning are displayed and cultivated, the slides bring in a moment that is all about ones relation to oneself.
In Hollers work the object becomes a tool, a device to produce these moments. Sliding down Holler's structures, one does not communicate with the sensitivity or the specific subjectivity of the artist- as we might do when we contemplate other artworks such as e.g. drawing- but with oneself. Or rather one communicates with a different side of oneself. The fact that we do this, is of course, his idea. But in the experience of the work, we are confronted with ourselves, and especially with our physical selves, more than with the artist. The sculptural object, in other words, becomes a tool to explore and experiment with ourselves. It not only serves the perception of one's self, but engenders transformation of one's self.  
 This operational dimension is crucial: the work seduces us to act upon ourselves. (p23)


Carsten Holler: Test Site (Unilever Series) , 2007 by Jessica Morgan. ISBN-10: 1854377124ISBN-13: 978-1854377128 


so if the works seduces us to act upon ourselves- can it also encourge this to happen collaborative, or with others? reports from Test Site suggest that there was a sense of group excitement at the top and bottom of the slides - a 'transformational energy 

and from the Tate http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-carsten-holler-test-site 

"What interests Höller, however, is both the visual spectacle of watching people sliding and the ‘inner spectacle’ experienced by the sliders themselves, the state of simultaneous delight and anxiety that you enter as you descend". 

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)