Practice ResearchEvocative Objects: the Role of Architecture in Creating a Habit of Mind Cartwright, B., (2016) Evocative Objects: the Role of Architecture in Creating a Habit of Mind. The Senses and Society [Internet], July 2016, 11(2), 114-135. Available from: <http://www.tandfonline.com/doi/full/10.1080/17458927.2016.1190066> [Accessed 16 November 2016] "The aim of this article is to ask how architectural spaces work on those who occupy them." "It is my belief that certain objects could be defined as evocative objects because they evoke ways of being in certain spaces. In other words, they provide a framework, or a stage setting for particular actions." " This organization of categories of experience into truths created a version of shared reality which was central to the college as a social community." (In Reference to Jesus College, Cambridge. Which the article discussed upon) Introduction: Sensing and Perceiving with Light and Dark Edensor, T., (2015) Introduction: Sensing and Perceiving with Light and Dark. The Senses and Society [Internet], June 2015, 10(2), 129-137. Available from: <http://www.tandfonline.com/doi/full/10.1080/17458927.2015.1042227> [Accessed 16 November 2016] "The ways in which we usually apprehend light – as a quality of daylight, season, time of day, and place; as bright, dim, glaring, glowing, animated or saturated; as a beam through which to discern the way ahead; as an attractor in spectacular displays or advertising; as a functional utility to illuminate homes, stadia, streets, shops, and workplaces – are rarely considered except when we witness forms of light or darkness that are beyond normative experience – or when we encounter works of art." "A brief consideration highlights how luminosity, color, saturation, tint, animation, and shadow can make a deep impression on apprehension, mood, and atmosphere." "Artistic uses of light can address profound questions about the qualities of places, spaces, and landscapes. In addition, they may examine how spaces are perceived, symbolic meanings inhere in forms of illumination, and the affective and emotional resonances provoked by light that stimulates movement, solicits feelings and activates sensations." "...artists use light to celebrate or defamiliarize place precedes a brief account of how others produce immersive environments and interrogate perception, before a focus upon vernacular creativity and illumination." "In addition, imaginative uses of light can also summon up other times and places, taking visitors away from the here and now." "Burden’s piece is so effective because it induces a seething venue of interactivity on the often deserted streets of Los Angeles. Accordingly, many contemporary light artists are keen to foster a sensuous interactivity. This was particularly exemplified at Sydney’s 2014 Vivid festival where designers concocted ways to encourage people to dance with light, clap and laugh and sing to encourage responsive patterns, experience their likenesses cast in space, and manipulate the design of buildings and bridges." "An increasing number of artists have sought to produce immersive environments through which they move away from the representational, and in which the sensual and affective experience of the visitor becomes paramount." "These highly immersive installations envelop bodies and environment in light and color, and in moving between abstractions and identifiable image, they foreground a “haptic visuality” that diffuses the subject–object boundary." "As the examples discussed in the articles in this special issue articulate, light and dark are rich media for vernacular and professional artists alike to explore symbolic meaning, affective impact, and sensory response." Light Art, Perception, and Sensation Edensor, T., (2015) Light Art, Perception, and Sensation. The Senses and Society [Internet], June 2015, 10(2), 138-157. Available from: <http://www.tandfonline.com/doi/full/10.1080/17458927.2015.1042228> [Accessed 16 November 2016] "In this article, I focus on how four artists working with light can reveal the different capacities of illumination and darkness in shaping human apprehension of the world." "Light glows and radiates, it transcends the cognitive and moves into the non-representational, the realm of the affective and sensual." "In vividly disclosing the particularity of our human visual perception, encouraging a self-conscious speculation about the accuracy of what we perceive, and the partial and illusory qualities of our visual system, we are caused to speculate upon whether others see as we see. How might the color-blind or partially sighted see the world? And even more strangely, how do animals see in and with light and darkness. How to they ascertain the flow of things – as a blur or a segmented array? Upon what do they focus? What colors are they able to discern and what elements of the electromagnetic spectrum are they able to perceive that are beyond our senses? Can they make their way in the dark or are their movements thwarted?" Curating Lights and Shadows, or the Remapping of the Lived Experience of Space Papadaki, E., (2015) Curating Lights and Shadows, or the Remapping of the Lived Experience of Space. The Senses and Society [Internet], July 2015, 10(2), 217-236. Available from: <http://www.tandfonline.com/doi/full/10.1080/17458927.2015.1042247> [Accessed 16 November 2016] "...in an attempt to define the curated event – as an experience and as a process – based on notions of immersion and the sensorial apprehension of space." "The sensual and affective impacts of light remains intact; throughout the years, and especially recently with the possibilities offered by the advent of new technologies, artists have been exploring the use of light in public spaces." "In this respect, there is nothing exceptionally innovative about the installation of screens and projections in space." "If one opens the argument even further, it could be suggested that contemporary art production “is a proposal to live in a shared world, giving rise to other relations, and so on and so forth, ad infinitum” (Bourriaud, Nicolas. 2002. Relational Aesthetics. Dijon: Les presses du réel.: 22). The aesthetic experience here is closer to the notion of social exchanges than artistic appreciation." "Lozano-Hemmer has stated that, for him, “a piece is successful if the behaviours and relationships that emerge from participation manage to surprise the artist/designer” (Graham, Beryl. 2007. “Interaction/Participation: Disembodied Performance in New Media Art.” In Jonathan Harris (ed.), Dead History, Live Art?: Spectacle, Subjectivity and Subversion in Visual Culture since the 1960s, [pp 254–8]. Liverpool: Liverpool University Press.: 254), explaining how pieces that feature interactivity for groups that are usually out of control." Sensory Play, Wordplay: the Common Sense of Sensing Le Breton, D., (2015) Sensory Play, Wordplay: the Common Sense of Sensing. The Senses and Society [Internet], October 2016, 11(3), 251-261. Available from: <http://www.tandfonline.com/doi/full/10.1080/17458927.2016.1195108> [Accessed 16 November 2016] "Perception is born of an individual’s necessary immersion in an environment ricocheting through his or her flesh, and while sensory perceptions seem to emanate from the sensory organs as pure physiological functions, in actuality they are always already socially and culturally shaped. They delineate a world of meanings and values." "Sensory perceptions are neither true nor false. They yield up the environment to us through their own means." "Even at this basic level, sensory perceptions trace out a language, a system of communication that allows people to share their experiences with one another in ways that are individually nuanced but that draw on a common register." "The senses correct each other, take turns, intermingle, and call up memories or experiences that engage the whole person, giving consistency to his or her environment." "Visual metaphors describe thought in terms of clarity, light, perspective, point of view, worldview, imagination, intuition, reflection, contemplation, and representation. Ignorance, on the other hand, draws on metaphors evoking loss of vision: darkness, obscurity, blindness, night, and fog." "The senses constitute a matrix of meanings and values that give expression to certain aspects of the social bond as well as individual disposition. They transcend the skin’s boundaries to apprehend the surrounding world and, in this way, become mediators between self and other, between the private and the public." Whilst finding research material for my research report, I came across these articles that I found relevant to my practice in terms of light and social engagement. If I do want to incorporate light within an environment/space as a co-herant theme for my practice, it feels appropriate that I understand the prospects of light further.
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