Experience and the future

Three foci:

  1. Resonances: Experience
  2. Desires:  how do we get at physical experience?  How is experience represented in physiology?
  3. Offerings:  An experience of Sonic Gesture; knowledge about sensing systems and the qualities and limitations of the resulting data.

I am very interested in delving deeper into the nuance of sensed experience.  To understand better how I can get data from the body that reflects small nuances in changes of body state (felt experience) without being invasive.  Thinking Through the Body represents un-voiced engagements – qualities of interaction that are internal, complex, multifaceted and dynamic. The sensate body…. the sensitised body…. how can we measure the changes in these somatic states.

For my own sake I place here a definition of Somatic  (see wikipedia.org)

The somatic nervous system is the part of the peripheral nervous system associated with the voluntary control of body movements through the action of skeletal muscles, and with reception of external stimuli, which helps keep the body in touch with its surroundings (e.g., touch, hearing, and sight).

The system includes all the neurons connected with muscles, skin and sense organs. The somatic nervous system consists of efferent nerves responsible for sending brain signals for muscle contraction.

In discussion this afternoon, Maggie spoke of hearing the body  – hearing changes.. I understood this to be a reflection of a sensed energetic state – a change in the energy flow in the limb, a realighnment …. this is the kind of interaction I would like to get closer to.

Here is a definition of the autonomic nervous system (see wikipedia.org) :

The autonomic nervous system (ANS) (or visceral nervous system) is the part of the peripheral nervous system that acts as a control system, maintaining homeostasis in the body. These activities are generally performed without conscious control or sensation. The ANS affects heart rate, digestion, respiration rate, salivation, perspiration, diameter of the pupils, micturition (urination), and sexual arousal. Whereas most of its actions are involuntary, some, such as breathing, work in tandem with the conscious mind. Its main components are its sensory system, motor system (comprised of the parasympathetic nervous system and sympathetic nervous system), and the enteric nervous system.

One option then is to look for changes in involuntary/un-concious control (ie. heart rate, digestion, respiration rate, salivation, perspiration, diameter of the pupils)as a reflection of prescribed voluntary interactions – ie. to make the sensing a biproduct of the act of engagement rather than the objective – this may assist in subjugating the technological layer so that it is not seen as thepoint of engagement, the first point of contact that needs to be navigated through in order to experience the art work.

cheers, garth

About Garth Paine

Garth Paine is a senior lecturer in Music Technology and Researcher at the MARCS Auditory labs, University of Western Sydney, where he leads the Virtual, Interactive performance research project (VIPRe). He is internationally regarded as an innovator in the field of interactivity in new media arts. He was awarded The RMIT Innovation Research Award in 2002. He is a member of the advisory panel for the Electronic Music Foundation, New York and one of 17 advisors to the UNESCO funded Symposium on the Future. His immersive interactive environments have been exhibited in Australia, Europe, Japan, USA, Hong Kong and New Zealand. He has been part of the organising and peer review panels for the International Conference On New Interfaces for Musical Expression (NIME) since it’s inception and invited as guest editor of Organised Sound, a pre-eminent international journal on music technology published by Cambridge University Press. Dr Paine is the holder of a number of ARC research grants focusing on interactivity for musical performance and realtime interactive systems for interactive dance and theatre performances. He was the Australia Council for the Arts, New Media Arts Fellowship at RMIT University in 2000.

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