"Early On I realized that the purely visualexperience of an artwork was somehowinsufficient. I wanted to go beyond thepurely optical and include tactical qualitiesas well. My works arent things one justlooks at, but things that the viewer is invitedto handle. There have been many theoriesof art that try to break down the borderbetween art and the world, but I dont findsuch attempts to be particularly meaningful.Art remains art. I really see my work as quitecompatible with the lart pour lartphilosophy. One may think that I try to bringthe art object out into the world since myworks sometimes appear to have a practicalfunction, but really its the other wayaround: things in the world can, undercertain special circumstances, enter therealm of art. And, in fact, once they haveentered this realm they are art." ---FranzWest..."Adaptives
lygia clark:1967: Sensorial Hoods- This experiment involved eye pieces,ear covers, and a small bag that would be affixed over the participantsnose. The participants would also have helmets with small mirrorsaffixed to them. The purpose of this experiment was to utilize all ofthe senses at one time. The outcome of this experiment might be thata participant would use his senses in a way he would never havethought possible.Abyss-Masks- The participants eyes were blindfolded and large bagsof air weighed down with stones could be touched giving off thesensation of empty space from within the body.The I and the You: Clothing/Body/Clothing- A man and a woman wearhoods over their eyes and a full body suit and during this experiment,each would come to understand their own gender by feeling throughtheir pocketsAntropofagia- One participant lies down while the rest sit around himwith blindfolds over their eyes and communicating with one anothersolely by touch. These participants are eating fruit found inside thepockets of the reposed participants suit (which forms a stomach).Baba Antropofágica (aka "Anthropophagical Dribble") - One participantlies down and the standing participants hold small spools of thread intheir mouths and release the string until the reposed participantwould be completely immersed in the thread.
Helio Oiticica + “parangoles” Oiticica: , a series of strategies developed by Helio Oiticica in the 1960s: the transformation of the exhibition space into a single Penetrable as seen in Oiticica’s Tropicalia 1967; Eden 1969; Nests 1969. In these works, Oiticica collapsed the relation between high art and no art, exhibition objects and everyday objects, and transformed the whole exhibition space into a total work of art and a total experience. In having the visitor wear masks and kaftans and become part of the exhibition avaf also integrates Oiticica’s strategy of the Parangole: "My entire evolution, leading up to the formulation of the Parangole, aims at this magical incorporation of the elements of the work as such, in the whole life- experience of the spectator, whom I now call participator” .
In this first evolution edition there isthree different pieces. The first is “oneman chair”, which incites personalthinking. “The bench” represents thecrowds of the daily life and its attachedcocoon is a door to escape from it. Thethird chair is called “The lovers chair” andit pretends to confront the two sides ofbehaving: private and public. It exploresdifferent ways of communication, itbecomes a connecting tunnel.Designer Nacho Carbonell
Mood Elevation Apparati-----------An edition in the ongoing series METHODS & APPARATI for Social Facilitation and Mood ElevationPublished in UNTITLED 003-----------:: FULL SPECTRUM OPTICAL INVIGORATION UNIT:: PSEUDO SMILE GUIDES:: COOLING INHALATION AID (aka Fridgi-Poofs) Keetra Dean Dixon
Distorting the seam between home comfort and urban exposure, SHAREWEAR creates anin-between place amid private and shared space. The work comprises of a pair ofreconfigurable, electronic dresses that physically slot together to activate atmospheric poolsof light. Unleashing potential for intimate chance discoveries, they are worn as part of aperformance, inviting both wearer and audience to, get close, lean on one another, morphspace, manipulate light and cast long shadows. SHAREWEAR is an investigative fashionand technology collaboration involving Di Mainstone and V2_, Institute for the UnstableMedia. http://sharewear.projects.v2.nl/index.html
Talk to Yourself HatThe Talk to Yourself Hat considers the act ofconversing with oneself. When speakingthrough a mouthpiece suspended in front of theface, the voice is channeled back into the ears.It allows the wearer to speak out loud while stillretaining the right to a somewhat privateconversation. Kate Hartman
The Muttering Hat is an exploration of what it would be like to extricate the noise of the thought process and put it into physical form. A pair of muttering balls are tethered to the hat. They may be stuck to the ears, so that all other noise is obstructed by the mutterings, or they may be detached, providing the opportunity to escape from the mutterings or to share them with a friend. Kate Hartman
I sometimes use my touchphone in the bath. I know it’s stupid. One problem I encounter is that when put myleft hand in the water without thinking, it gets wet and unusable for touchscreen navigation. It is too risky totry to hold and navigate with one hand. I found that I could use my nose to scroll but I couldn’t see where mynose was touching precisely. It was at that point that I came up with this idea of a nose extension ‘finger’ that would allow navigation while my phone is firmly held by one hand. Dominic Wilcox