Sensational Technologies

 

Author(s):


Exhibition:


Category:


Abstract/Summary/Introduction:

  • This paper is part of an ongoing study of performances that make a physical and psychological connection with the public by synthesiz­ing various media such as sound, image, smoke, smell, etc. The research project will focus on the history of the live image and try to connect this to current practices in popular culture and art, for example live video jockey (VJ) performances and interactive-technology-based installation art. For our presentation at SIGGRAPH 2004, we will con­ centrate on three cases that make use of state-of-the-art technology in order to create specific bodily sensations. We will also take their temporal character into account and explore whether, and if so, how these “events” can be presented and preserved for future genera­ tions as part of our cultural heritage.

View Full Paper:

References:

  • Barkode www.barkode.nl

    Castle, T. (1995). The female thermometer: Eighteenth-century and the invention of the uncanny.
    Davies, C. www.immersence.com
    �·iessens, E. & Verstappen, M. www.xs4all.nl/-notnot/

    Fisher, J. (1997). Relational sense: Towards a haptic aesthetics. PARACHUTE 87, 4-11.
    Gigliotti, C. (2002). Reverie, Osmose and Ephemere. n.paradoxa, 9. Grau, 0. (2003). Virtual art. from illusion to immersion. MIT Press Marks, L.U. (2002). Touch, sensuous theory and multi-sensory media. University of Minnesota Press.

    Morse, M. (2000). Burnt offerings (incense). Body odours and the o�actory arts in digital culture. Proceedings of ISEA2000.
    Sobchack, (2000). What my fingers knew: The cinesthetic subject, or vision in the flesh. In: The Special Effects/Special Affects: Technologies of the Screen. University of Melbourne.