Professional Documents
Culture Documents
Sensory Publication
Sensory Publication
Sensory Publication
/Introduction......................... 1
/Sensory Processing.............. 9
/Nature................................... 15
/The Body............................... 23
/Materiality............................ 29
/Phase I.................................. 51
/Phase II................................. 53
/Phase III............................... 55
/Sensory Ethnography........... 57
Back home, the city was in atrophy.
The forest was also in the business of
decay, but instead of waste it gave way
to newness, which in turn gave way to a
network of organisms in symbiosis--not
recalcitrant, but accepting of their role
INTRODUCTION in the ecosystem.
62 ° 53’1.981 N
27 ° 13’9.657 E
3 4
In The Thunder Tree: Lessons from
an Urban Wildland (1993) Robert M. Pyle wrote
about the “extinction of experience”, a society-
wide phenomenon in Western, urbanized
countries that has been characterized by the
loss of meaningful nature-based experiences.
The loss is punctuated by a lack of community
identity brought about by a separation from land,
heritage and physicality, replacing it instead
with digital landscapes, virtual legacy, and
intangibility.
5 6
The purpose of the project is to
experiment with the fluidity of our systems
of perception by creating a moving-image
piece that merges the liminal experience
and perceptual mediation. Consisting of a
projection on a three-dimensional organic
surface, the video relies on pure sensory
experience; recognition of the stimuli that
trigger personal memory identification
when faced with a journey of sounds,
textures and and digital disturbances.
By ritualizing the act of sense-making,
and creating a sense of disruption and
exposure, the virtual realm can afford us
the ability to sidestep the artificial filters
that challenge our perceptual balance.
7 8
SENSORY
PROCESSING
Sensory data is being accumulated, analyzed and accepted into the framework of your
consciousness at all times. The Dunn model describes this constant exchange of information as
contained within a neurological threshold; that which is perceived and fits within the threshold
is incorporated into the system, which is based on a self-regulating continuum of behavioural
construct.
Our neurons use networks of memory to pick up the related emotions, thoughts and actions
in correspondance to new and remembered stimuli. This structure of perception builds on
itself incrementally, shaping and re-shaping its own morphology each time it incorporates new
sensory patterns. The process solidifies and corrodes like a cliff transmuting its form under the
influence of the elements.
9 10
Compatibility between the learned patterns of
perception, our genetic parameters for sensing
and the actuality of the external stimuli we
are exposed to determines our capacity for
sensory health and mental balance. In cities,
the compatibility between internal and external
worlds of perception becomes pathologically
eroded by the very affordances that urban
life provide--claustrophobia, sleeplessnes and
deteriorating mental health all stem from an
overstimulated brain.
11 12
Polluted transfers of experience
13 14
NATURE:
defined as...
15 16
in the digital era...
transfers of
17
EXPERIENCE 18
LIMINALITY & RITUAL
“Given their place in modern, complex,
industrial, urban life, liminoid genres
de not reflect, nor de they connect us
with, the rhythms and cycles of life and
land.”
Anosognosia
ano·sog·no·sia | \ ˌa-nō-ˌsäg-ˈnō-zh(ē-)ə
/an inability or refusal to recognize a defect or disorder that is clinically evident
/often used to describe medical phenomena where a patient retains a limb but
refuses to acknowledge it; the opposite of a phantom limb
23 24
The virtual body, a manifested body of
potential order and chaos, exists in the space
between mind and matter--it represents the
unconscious in all its nonacted processes. The
virtual body suspends itself over the threshold
of perception, linking past, present, and future,
as well as that which is immaterial with that
which we can reach out and touch.
25 26
27
SKIN-
Skin projections reveal the exchanges of information that occur between humans and
their environment: we alter the environment as it alters us in turn.
SCAPES
28
MATERIALITY
35 36
Surface study 3: Surface study 4:
barren lot, trees and houses on stone table, air-conditioning unit farmhouses and sky on plywood, plaster, branches & wall
37 38
Surface study 5: Surface study 6:
watercresss, moss on stone table and live vine star-moss, curled snow lichen on branches & plywood sheet
39 40
Surface study 7: Surface study 8:
birch leaves, pine trunk on plaster, plywood & wall dead leaves, coral reef on plywood & branches
41 42
Surface study 9:
dry bamboo, sky, on plywood & wall
43 44
Surface study 10: Surface study 11:
leaves, squamulous lichen on wall & branches tree stump, mushrooms on wall & branches
45 46
Surface study 12:
driftwood, water reeds on plaster, plywood, wall & branches
47 48
Surface study 13: Surface study 14:
birch tree and foliose lichen on brick wall wheat fields and sky on plywood, plaster & wall
49 50
I
PHASE I
The first phase of ritual practice considers the n
t e
separation of the subject/viewer from their surroundings,
and an integration into the new ritual experience.
This is acheived primarily through familiar visual and
auditory cues, in this case: the sound of crowds, busy
environments, cityscapes, advertisements, vehicle noises.
In this phase, reality becomes suspended in the face of
disruptions to the forced familiarity--the subjects is eased
into the journey. This will eventually allow them to be
g r
open to a restructuring of their understanding of what is
being represented in the moving image. The layering of
sounds, textured surfaces and projection are inteded to
create an immersive state.
at
io
51
n 52
LIMIN-
PHASE II
The liminal phase is a period of absolute agitation, seeming disorder, and sensory confusion.
As described by Turner and Gennep, “ everyday notions of time, space and identity are
suspended.” The introduction of nature-based images and sounds at this stage allow for a
re-imagining of the subject’s immediate priorities. Nature is enhanced both “on screen” and
ALITY
before our eyes.
“During the liminal phase, ritual participants engage in mimetic activity reenacting the crisis
motivating the ritual. In so doing, the structures of everyday social life are both given a
mythical explanation and justification and also challenged, or to use van Gennep’s terms, in
the liminal phase “structure” and “anti-structure” are simultaneously enacted.”
53 54
RE - IN
PHASE III
-itiation
The final phase creates an atmosphere of
reintegration or reinitiation of the subject
into their previously occupied space (both
physical and mental). Integral to this phase
is the added element of appreciation
for the beauty and sensory stabilization
mediated by nature.
55 56
SENSORY
ETHNOGRAPHY
“Films do not need to pipe in smells, waft breezes across the audience, or chill the room to have
the audience members feel those various sensations. Our brain’s natural synaesthesia will do it
automatically when we are totally immersed in the filmic world, our mirror neurons firing in
sympathy with what we see and hear.”
57 58
In Heritage, Museums and Galleries, Carol Duncan writes of the
art museum as a ritual, a constructed setting that engages the
senses and becomes both a personal and social ceremony.
Duncan also speaks of the liminal quality of museums,
which she considers create a “state of exaltation through
contemplation of, engagement--perhaps even a sense of
communion--with, works of art...”
59 60
The Taskscape
For the indigenous people of Lapland, the Saami, the forest acts
as a microcosm of reality. It contains within its boundaries all
possible processes of life, death and perception; it is at once a place
of mythological importance and immediate relevance. According
to oral tradition, the Saami believe in the power of the forest to
expose archetypes in humans, and through ritual practices transform
practicioners by creating an environment for renewal. The sensorium
plays an important role in this transformation, tying together centuries of
tradition with contemporary views on biological information processing.
Anthropologist Tim Ingold coined the term “taskscape” with his work
The Temporality of the Landscape, whereby the environment inhabited by a
person or group of people directly determines the cultural perspective
and subsequent culturally transmitted behaviour of the individual or
group. The term unifies the understanding of nature and place in relation
to perception and human action, and the engagement that communities
have with their surroundings. According to Ingold’s theory, perceptual
hierarchy is determiend by a person’s immediate surroundings, and what
they chose to expose themselves to.
63 64