Introduction
Art = Idea + Craft
Civilisation = Sum of all Ideas
Some ideas are able to be recorded or re-produceable
Some ideas are designed to be experienced
Some ideas have functions or solve problems
Control over techniques of expression (in order to manipulate the observer) is what an artist must develop (craft) to obtain the desired influence of their audience.
Our civilisation is biased towards art being generated by the influence of light and shade. Through our eyes. Even sculpture is often regarded as a visual experience when touch is available as a tool. I accept that touch is often explored by artists.
Sound has been used as an art form and, in music, has been a high reflection of civilisations through the ages. Consequently, the study of how to manipulate and reproduce sound is a mature craft.
Some artists have expressed themselves with smell. Gardeners frequently manipulate the senses by using the craft of plant selection.
Other experiences due to environment are available but are not regarded as art or not used by artists to express an idea. I am thinking of heat, humidity and gravity as examples.
Technical methods exist which would allow us to create ideas towards the manipulation using all of the senses. Some techniques are used incidentally as a consequence of function, however I believe the designed manipulation of senses is a massive area for humans to express their ideas. Indeed whole languages could arise from the exploration of such crafts.
I practiced as an architect. I have had a long career of providing ideas to solve problems and create functional spaces for the comfort of users. I have even designed spaces which have provided experiences for observers.
I have recognised incidental non light based sensory experiences on viewing many buildings. In particular, aspects of sound have provided me with feelings or memories which, intended or not, have been a feature of a particular building or space.
Objectives:
I would like to explore what has already been achieved towards the intentional manipulation of sensory experience.
I would like to experiment into how people react or how to create experience by the intended manipulation of senses.
I would like to teach designers and observers about ideas in the area of the manipulation of the senses.
I would like to provide new methods of expression to those who wish to convey their feelings. This in turn would allow reflection society and a contribution towards civilisation at the date of the creation of the idea.
Options:
Research programmes and the publication of information
Installations which use sensory techniques
The curation of an exhibition of sensory art
The creation of a centre of sensory art and design
Examples
I am amazed about how much work has been done in this area. My knowledge is limited but my enthusiasm is encouraged by how much there is to learn. I am also proud to say that I have already managed to incorporate some sensory ideas into my traditional architectural work.
In the YPPU at Glasgow the paths were made with Bredon Gravel. The specification was strictly to provide a “crunch” when walking. I enjoyed that particular sensation when I walked in the Tuileries gardens in Paris. Other factors were important in the choice such as the colour and the non slip nature of the material but it was the feeling underfoot which drove me.
I have included sensory gardens in many of my projects and at Armitstead Nursery in Dundee, I managed to select appropriate plants. I am now a keen gardener learning daily about the touch, feel, sound and scents available for composition.
Websites which provide guidance about sensory gardens are prolific but the garden at Oklahoma State University appears rigorous in its approach and therefore an excellent example of sensory manipulation.
Alex Schweder is an architect artist who specialises in the interaction between the user and the space. His work is more architecturally driven and certainly creates experience. I would suggest this work is the best example of touch being primary within the installations.
In 2012 The Museum of Arts and Design (New York) held the exhibition “The Art of Scent” which highlighted 12 established works of art. The exhibition attracted sponsorship from several perfume companies which indicates an interesting commercial aspect to the ideas. This can be contrasted with MIT’s Fear of Smell Exhibition in 2011.
Martynka Wawrzyniak is another artist working in the area of smell. However, her ideas, in my opinion, provide a hook or an addition to images which together develop a context, message or statement.
Jean Tinguely 1925-1991 was an important sculptor/kinetic artist who used sound in his work. A museum dedicated to his large body of innovative work exists in Basel.
Bill Fontana is also an artist who has created art sound installations for over 45 years. These examples show how mature sensory concepts actually are, but also how much knowledge exists to be spread.
I realise that there are many aspects to the manipulation of the senses but I am also inspired to provide new ideas or contributions. These currently include the deprivation of the sense of sound and/or reverberation. While I am happy to investigate and learn more about the subject, I am also keen to express my own ideas.
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