1. "Early On I realized that the purely visual
experience of an artwork was somehow
insufficient. I wanted to go beyond the
purely optical and include tactical qualities
as well. My works aren't things one just
looks at, but things that the viewer is invited
to handle. There have been many theories
of art that try to break down the border
between art and the world, but I don't find
such attempts to be particularly meaningful.
Art remains art. I really see my work as quite
compatible with the l'art pour 'lart
philosophy. One may think that I try to bring
the art object out into the world since my
works sometimes appear to have a practical
function, but really it's the other way
around: things in the world can, under
certain special circumstances, enter the
realm of art. And, in fact, once they have
entered this realm they are art." ---Franz
West..."Adaptives
7. lygia clark:1967: Sensorial Hoods- This experiment involved eye pieces,
ear covers, and a small bag that would be affixed over the participant's
nose. The participants would also have helmets with small mirrors
affixed to them. The purpose of this experiment was to utilize all of
the senses at one time. The outcome of this experiment might be that
a participant would use his senses in a way he would never have
thought possible.
Abyss-Masks- The participant's eyes were blindfolded and large bags
of air weighed down with stones could be touched giving off the
sensation of empty space from within the body.
The I and the You: Clothing/Body/Clothing- A man and a woman wear
hoods over their eyes and a full body suit and during this experiment,
each would come to understand their own gender by feeling through
their pockets
Antropofagia- One participant lies down while the rest sit around him
with blindfolds over their eyes and communicating with one another
solely by touch. These participants are eating fruit found inside the
pockets of the reposed participant's suit (which forms a stomach).
Baba Antropofágica (aka "Anthropophagical Dribble") - One participant
lies down and the standing participants hold small spools of thread in
their mouths and release the string until the reposed participant
would be completely immersed in the thread.
8. 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” .
16. In this first evolution edition there is
three different pieces. The first is “one
man chair”, which incites personal
thinking. “The bench” represents the
crowds of the daily life and its attached
cocoon is a door to escape from it. The
third chair is called “The lovers chair” and
it pretends to confront the two sides of
behaving: private and public. It explores
different ways of communication, it
becomes a connecting tunnel.
Designer Nacho Carbonell
17. Mood Elevation Apparati
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An edition in the ongoing series METHODS & APPARATI for Social Facilitation and Mood Elevation
Published in UNTITLED 003
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:: FULL SPECTRUM OPTICAL INVIGORATION UNIT
:: PSEUDO SMILE GUIDES
:: COOLING INHALATION AID (aka Fridgi-Poofs) Keetra Dean Dixon
18.
19. Distorting the seam between home comfort and urban exposure, SHAREWEAR creates an
in-between place amid private and shared space. The work comprises of a pair of
reconfigurable, electronic dresses that physically slot together to activate atmospheric pools
of light. Unleashing potential for intimate chance discoveries, they are worn as part of a
performance, inviting both wearer and audience to, get close, lean on one another, morph
space, manipulate light and cast long shadows. SHAREWEAR is an investigative fashion
and technology collaboration involving Di Mainstone and V2_, Institute for the Unstable
Media.
http://sharewear.projects.v2.nl/index.html
20. Talk to Yourself Hat
The Talk to Yourself Hat considers the act of
conversing with oneself. When speaking
through a mouthpiece suspended in front of the
face, the voice is channeled back into the ears.
It allows the wearer to speak out loud while still
retaining the right to a somewhat private
conversation. Kate Hartman
21. 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
22. I sometimes use my touchphone in the bath. I know it’s stupid. One problem I encounter is that when put my
left hand in the water without thinking, it gets wet and unusable for touchscreen navigation. It is too risky to
try to hold and navigate with one hand. I found that I could use my nose to scroll but I couldn’t see where my
nose 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
