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)

Looking forward to meeting the good people from @madeonjupiter in the #fablab on Friday . They are behind the fabulous Puffer which you can see here http://www.madeonjupiter.com/the-puffer-from-digi-to-real/