AIR – Urban Olfactory Installation
What would you think your city smells like? Together with perfumer Bertrand Duchaufour, Hilda Kozári has created three different perfumes to represent three cities: Helsinki, Budapest and Paris.
The Air installation consists of three bubbles. The bubbles, designed in collaboration with Esa Vesmanen, contain Hilda Kozári’s personal memories and experiences of the three cities in olfactory and visual formats.
Helmet Piece is an exploration in audience-performer proximity. Each performer wears an opaque helmet with the headset of a stethoscope protruding from the front; the bell of each stethoscope is pressed to the performer’s throat inside every helmet. Audience members wear the headsets like headphones, and listen to the vocal expressions made by each performer. The sound is a detailed amplification of visceral human sounds, such as swallows, heartbeat and breath.
Lorenz Potthast, The Decelerator Helmet
It offers the user a perception of the world in slow motion. It is a experimental approach for thinking about our increasingly fast moving, globalized society.
Antony Gormley, Blind Light, 2007
Spatially choreographed sound
Sound is made up of travelling pressure waves. Externally, sound levels diminish with distance as the energy is dissipated. The interaction of sound with architecture brings about a much more complex situation. When sound is reflected off a room boundary, the reflected wave interacts with the incident wave causing constructive and destructive interference patterns.
Standing waves may be created from the collision of two waves (with equal frequency and wavelength) travelling in opposite directions. The net result alternates between zero and a maximum amplitude, unlike the travelling waves. In a room, the locations of these maxima and minima are stationary and can be both predicted and experienced physically.
Vilayanur Subramanian Ramachandran mirror experiments
Ramachandran, a neuroscientist who ran some experiments where he used a mirror in a center of a box positioned upright in such a way that when a patient would place his hands on each side of the mirror he would see the reflection of his healthy existing hand superimposed on “the felt location of his other hand” which was hidden behind the mirror. This mirror box as he called it, would create the illusion of looking at both of the patient’s hands while he only looked at one hand and the reflection of the same hand
He advised the patients to move both the arm with the amputated hand and the arm with the healthy existing hand synchronously. By getting this mirror visual feedback the patient sensed his phantom limb obeying him and his pain was released. What is speculated that happens is that the brain “unlearns” the paralysis due to contradictory sensorial input, on one part there is no muscle feedback and on the other hand the visual feedback from the mirror shows that the hand is moving (Ramachandran, 2012, p.34). With another patient he used the mirror and a lens which made his arm look smaller. This made the pain smaller (Ramachandran, 2012, p.36).
Bruno Taylor, Playful spaces
‘double happiness’, Didier Faustino 2009
office for subversive architecture
Nuage Vert – HeHe
*Archisuits, Sarah Ross
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