Due to installing an exhibition posting my summary has been a bit
delayed, however, many interesting and diverging points have been
posted, and accordingly:
Roger wrote: "Krueger's 'Synthetic Senses' statement—the
sense of magnetism. "We are sensitive to a minor fraction of the
available spectra"
There are communications operating that we're not aware of, and
it's the potential discoveries about the scope of those
communications that's exciting. We hope to expand understanding and
appreciation of the role of olfaction in our being and interaction
with other organisms and environment. All life forms, including
humans, are communicating with the sense of smell, but we're not
tuned into the chemical signals that are the language of all nature.
In the future, when we've developed technologies that assist us to
perceive other 'spectra,' if the spectra are digitally knitted
together into surprising patterns, will we be able to sense them
without the technologies? To train ourselves to perceive in new ways?
And be able to find a language for a sense that lacks its own verbal
language because its mainly in simile. Perhaps not words but gesture,
motion.
Paul, Hi Paul! thanks for the very interesting link to metaphor and
language.( Goerge Lakoff and Mark Johnson (Metaphors We Live By,
etc.).Looking forward to more.
In correspondence Antonio Brech ( Metavision) uses the analogy of the
inter-sensory integration of the senses using for example "sound,
graphics and motion (ALOGIC-Instrumentality operational), working as a
bicycle" .....like a bicycle.
Our sensory input has changed over the past 20 years, what is the
experience when for example simulated sensory inputs of sound,
graphics, vibration and smell, are fused digitally in the way that
they are integrated before the cross - modal experience happens?
Veroniki wrote: "There seems to be an effort for artificial
stimulation of synaesthetic perception through chips and inplants,
goggles and other sensors, in order to restore damaged eyesight,
especially when parts of the vision is lost at a very young age. For
instance, one argument that mental representation can work
autonomously, without the prerequisit of visual sensory input is the
fact that dreams are internal representations which are not affected
by external stimuli, meaning that certain representational forms
archetypically exist in the human mind somehow."
I approached making music translations for concerts for the deaf
assuming that persons who lacked hearing would be naturally more
attuned to another sense such as smell, and I was surprised that they
weren't. They had, as I found, other ways of thinking and therefore
perceiving...as Lawrence M Marks says: 'synaesthesia is a mode of
perception and thinking; Wheeler; Karowski also suggest that
synaesthesia constitutes a mode of thinking and not just perceiving'
In thinking I refer to Ju Gosling's discussion on medical and
scientific models of disability and disabled people. 'Abnormal'
developed from Ju'sartist's residency at the National Institute of
Medical Research (NIMR), where she residency explored ideas about
normality, and asked whether there is a 'Scientific Model of
Disability' that is distinct from the 'Medical Model of Disability'?
Khadija wrote: Coffin /Nest. "The new version of Coffin /Nest is
not only about my memories but also speaks of my life and
relationships in Montreal made here. The piece has perhaps become
less about the past and more about the present with a connection to
the future. Acting as a strengthening framework, the nest- or womb-
like structure contains and holds me, while suggesting the possibility
of new life and beginnings. The act of weaving is also very important
for me as it is a part of me touching and interact with each piece of
clothes , how it smells and what kind of image it might propose, and
how it will be reformed to become a story teller or a symbolic act of
hop."
Island women wind the sarong in a nest for a baby to sleep ;Worn
clothes exude olfactory information about the person who last wore
them. Could you describe the images that the clothes conveyed to you
while you were in the nest?
Ian wrote :"So when you assemble something, construct it, develop a
concept, how do you know that this is not something that can be
meaningfully shared, or in the way that you want it to be - or does
that not matter? Predicting the perception of others seems an
impossibility once you start thinking about it. In the end, despite
the canard that literature isn't complete unless someone reads it,
does art fail, or at least, become very random in its effect?
I would be less concerned about modes of perception and more about
connectivity and recognition".
As an artist I see connections and place things together much like
words are placed in a sentence, if you change the
order( configuration) the meaning is changed. I'm always searching
for resonance in the work which I understand is where the crossover
to the audience takes place, although they will experience it
differently. They might read it in a different order. Its a good
question and one which Kathleen Coessens writes on: aesthetic
reception, and artistic practice as a human social practice.
The Artistic Turn: reflections on art and territoriality, Kathleen
Coessens, Darla Crispin & Anne Douglas
http://upers.kuleuven.be/en/print/node/34791
Luis Miguel Girao wrote: "if we make use of a single stimulatory
channel, like visual, it seems to me pretty obvious that wecannot turn
off all other senses…
My question would then be: is the sensation of presence multisensory
or omnisensory?"
I don't know enough about presence in vr but when we become engaged
it could be through one or many senses—could you elaborate on
omnisensory?
all the best
Raewyn
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