The rapid discussion about multisensory perception already gave me plenty of
questions to think about… Like synaesthesia or the imagination of it. Then
comes to my mind the amodal perception, the presence in absence.
As a visual artist I'm interested working with experts of different fields.
With my multi-sensory installation AIR collaborated with a perfumer.
Learning more about the perfumes and olfactory sense (through also my work
and workshops) I can imagine that we are going to use in the future
genetically, hormonally suitable designed, costume-made perfumes. Everyday
olfactory measurement and vocabulary should be developed understanding the
problems like use of fragrances or suffering of disturbing smell. Technology
might be useful on that issue. The cultural, anthropological diversity and
misunderstanding is also a challenge in a global context.
We had inspiring discussions and co-operations for many years with Hely
Tuorila, a professor of sensory food science at the Helsinki University. A
group of students at the dept. of food technology made a sensory research
based on the theme I gave about smell and association (included emotional
aspects). They made a laboratory test with a group using the aromas I chose.
The study they made was fascinating for me also because of the method and
layers of the subject I'm dealing with in a completely different way. Later
I used some of the results in my installation about a kitchen and I'm
looking forward into further developments.
Best,
Hilda
Hilda Kozári
On 8 March 2010 23:34, Raewyn Turner <r.turner@orcon.net.nz> wrote:
> Hi Everyone,
>
> 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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