Triggering Perceptive and Conscious Shifts in Three Dimensional Site Specific Art - Research Proposal Example

BEYOND THE VISIBLE: TRIGGERING PERCEPTIVE AND CONSCIOUS SHIFTS IN THREE-DIMENSIONAL SITE SPECIFIC ART Introduction Human senses mainly refer to theircapacity to touch, feel, taste, smell and hear. These senses are directly or indirectly linked with the ability of an individual to understand visual art and experience the same, despite of their low level of awareness related to the subject. Arguably, abilities of human senses and experiences are directly proportionate with their ability to memorize things and scenarios (Ackerman 2011, 28). Emphasizing the issue described above, this particular thesis intends to address the relationship between visual art and human senses. Visual art can be identified in the form of ceramics, paintings, photography and videos among others. Theorists and experts in the field have been arguing that individuals tend to have an attachment with visual art pieces, irrespective of their experiences or knowledge in the field. This further signifies and demands clarification on whether factors such as human thoughts, behavioral traits and personality features impose major impacts on the way they intend to interpret a visual art or presentation. The assumption or theory considered to justify the notion depicted above in this thesis asserts that in order to understand the artistic sense for a particular visual, the role of the senses is important. The thesis statement can therefore be formed as – Human understanding and interpretation to visual art depends on their senses at the first hand, rather than being solely influenced by their knowledge in the field. Process and Methods for the Research To explore the prominence of human senses that can help in interpreting visual art, recent studies relevant to the problem area have been considered in this thesis. Some of the studies that would be analyzed to gain a comprehensive understanding for the research topic include the literature studies of Diane Ackerman, Henri Bergson, Maurice Merleau-Ponty, Franseca Bacci and David Melcher along with Merlin Donald. All these academic accounts will be among the primary sources that would be used in this particular study. The study will also incorporate the artistic ideas of Spencer Finch, Olafur Eliason, Janett Cardiff and Doug Wheeler, who have worked extensively on the interconnection of human senses and visual arts. Analysis and Reflection As per the ideas of Ackerman (2011, 32), every particular human sense has its strengths and abilities that further helps the individual to interpret a visual art with coincidental similarities to others’ interpretation. As Ackerman (2011, 32) argued, all the five senses of humans have their influences on the interpretation developed by the individual regarding any particular visual art. For instance, smell acts as one of the most vital human senses, as it is accompanied with strong memory, while touch is considered as one of the oldest senses, providing an extreme experience to humans. However, taste is mainly associates with the eating habits of individuals that might not directly connect with visual art experiences, until food it presented in a mode of visual art form. As compared to these three senses, human abilities to hear and see have their prominent role in helping individuals to understand visual art, as the experience one receives from hearing and seeing is incomparable to any other senses (Ackerman 2011, 32). As per Bergson (2004, 9), the actions of human are directly proportionate with their senses, wherein the way people conceive about any particular aspect is directly dependent on the way they utilize their senses. In precise, Bergson (2004, 11) revealed that maximum use of senses is required by humans to experience visual art in a better way. Presenting a similar view point, Merleau-Ponty (2009, 36-39) argued an elaborative understanding about the perceptions of people regarding visual arts. It is the human sense that influences their perceptions regarding any particular aspect, reflecting the association between visual arts and the abilities of their senses to interpret the same (Merleau-Ponty 2009, 36-39). However, the findings depict that not all the human senses have equal significance in confirming its association with the interpretation of visual arts. According to the viewpoint of Bacci and Melcher (2011, 17-26), human senses and their ability to interpret visual art are closely interrelated with one another. Visual art usually intends to connect with the audience in the form of non-verbal communication. The nature of feeling amid humans is directly determined from the manner their senses work. This can be further related to their ability of humans to understand visual art in a more effective manner, with the use of their senses, such as vision, hearing and feel among others (Bacci and Melcher 2011, 17-26). To be noted in this context, there are certain cognitive principles associated with the ability of humans to interpret visual arts. The cognitive principles can be assessed in the form of determining the perceptions of the individuals, their behavioral attitudes towards others and their strengths to understand as well as appreciate visual art. Again, as Turner (2006, 40-50) asserts, art is inherent within the evolution of cognitive senses of human, which is directly linked with their mental abilities to understand and develop perceptions regarding any particular aspect. It is within the cognitive behavior of the artists and audiences that develop relationship amid the two. It has also been comprehended that artists and arts together further work towards evolving cognitive behavioral elements amid the humans and trigger their senses by transforming their way of developing perceptions towards art (Turner 2006, 40-50). The analysis of secondary sources clearly depicts the relationship amid art and senses along with the cognitive elements amid humans. Considering the viewpoint and perception of some well renowned artists, such as Spencer Finch, Olafur Eliason, Janett Cardiff and Doug Wheeler would provide a better comprehension of the relationship amid art and human senses. The creations of Spencer Finch, who is an American artist, were developed from watercolor, photography, electronics as well as videos among others. He mainly intended to target the memory and perception of the audiences with the use of visual installation. He targeted the vision and other senses of his audience to comprehend his art. Illustrations of his creations in the form of programmable dimmers and fans justify the fact apparently (Spencer n.d.). In the similar context, the significance of senses can be reflected in the work of Olafur Eliasson, a Danish artist, with notably large-scale installation work associated with his artwork. His work mainly included natural materials such as light, water, and air to augment the visual experience of the audience. He urged that in order to understand and experience his artwork, the audiences would need to use their senses and sight the area surrounding them, further signifying the interrelation between the two aspects (Spencer n.d.). In this context, Janett Cardiff, an artist from Canada also provided an extensive understating about the importance of human senses and their experiences towards a particular art price. She worked mainly with sound installation, targeting the visionary sense of the audiences. The audible experience one can obtain from experiencing her work is mesmerizing, which further depicts the importance of vision and hearing abilities of human senses. Another illustration in this context can be identified as Doug Wheeler, who worked primarily with the light and sound for his creations. His artwork also included drawings, paintings and videos. However, his ability to use space, volume, and light to mesmerize the audiences is widely deemed and praised as incomparable, which directly also targeted the senses of the audiences (Randy 2012). Hence, from the above analysis, it can be apparently stated that through artwork, artists usually try to trigger the senses of the audience and then capture their attention subsequently. A better understanding of the relationship between visual art and senses can be comprehended from the in-depth analysis of the work of Spencer Finch, and Olafur Eliasson. The art of Spencer Finch involved raw materials in the form of fans, woods and dimmers. Four fans were installed in each of the wooden frames, which have an altitude of 93 inches and a diameter of around 14 feet. The artist created the wind, which he could control with the help of programmable dimmer. The wind was transferred in both the south and southwest direction at a maximum speed of 8 mph. The artist measured these winds with the help of a weathervane and an anemometer (Finch, 2007). The work of Finch primarily reduces the gap between nature and technology as well as body and mind by providing all new experiences for the sensory track of individuals. These art works causes a thrill among the viewers, which is again signified as a particular kind of visual experiences. The fact that wind was directly collected from the Walden Pond with the help of artificial fans and other materials enhanced the curiosity of the people, experiencing natural wind with the help of artificial components to create a masterpiece. This apparently indicates that Finch fed his viewers on the basis of their senses. He intended to create a far-off place and time for the audiences, which does not exist in reality, with the help of natural wind through providing an artificial feeling to the viewers. The effectiveness of the wind in enhancing the experience of the viewers can be comprehended from the fact that it is a natural element which has unique features that could not be ensured buy other artificial or natural particle. This further implies that his attempt was to make mechanical mimic of natural phenomenon and target the memory and senses of audiences to gain their attention. The strategy of Finch was to create a balance between the senses of the people and their understanding with that of the feature of his art. His art was presented in such a manner that engaged maximum attention of the viewers, which further hindered them from comprehending any logic behind the art (Foley-Mendelssohn, 2009). In a similar regard, the study of Olafur Eliasson can also be considered as a vital illustration in this context. His artistic work mainly includes the installation of mist as well as fractured light along with a particular looping presentation. Elaborately, it can be asserted that the installation includes spotlight, water, nozzles as well as hose as the primary materials. It has been noted that the work of the artist included a pierce hose that further sprays a curtain of mist in a darkened space from the ceiling. The installation is fixed at a slanting dimension. Furthermore, it has also been noted that there is a spotlight that stand out and shines from the falling water droplets. One of the most vital features of his work is that one can see a rainbow within the installation, depending on the location, height as well as positioning of the viewer. It attracts the attention of the sense of the viewer, where he/she needs to provide full attention to get a better experience of the art and visual. In his art, Eliasson used mist as the primary element owing to the some of the natural characteristics associated with it. Features such light and glossiness of this particular element has further encouraged Eliasson to consider mist as a medium rather than other materials. Furthermore, with the use of mist, Eliasson developed a scenario where the viewers can experience rainbow from the combination of light and mist. This depicts how Eliasson work with the senses of the viewers when comprehending his art (Eliasson n.d.). Hence, it can be well ascertained that natural media are more effective and successful than other, as it ensures more depth in the visual art, causing direct interaction with human senses. In both the aforementioned work, it is quite apparent that the senses and memory of the viewers or the audiences are directly triggered by the artists to convey what they want to present in the best possible manner. It has been noted accordingly that most of the work of the artists involved both the uses of effective mechanical installation along with capturing the senses of the individuals, which again determines their attention towards a particular art or visual. One might use their clever side to define the logic behind a particular art, but at the same time, the artist intends to increase the level of awareness and attention of the viewers with their work, so that the connection between human senses and their visual experiences are not affected. This can also be related with the ability of the artist to manipulate the thoughts of the viewers through controlling their minds and perceptions and encourage them to feel and see the art that intended to convey. In this context, artists develop their art in such as manner wherein the viewers are forced to just feel the beauty of the visuals and not focusing on finding logics behind the same. This can be regarded as the perceptional and conscious shifts of the work of the mentioned artists while depicting the beauty of their art pieces to the audiences. In similar regard, the work of Janet Cardiff (a notable Canadian artist) related to sound must also be discussed and illustrated to determine the process of triggering senses of individuals while presenting their art work. Her experiments with numerous sound works are so captivating that it mesmerizes the senses of the audience. This aspect also triggers their attention one way or the other (Turner 2006, 40-50). 3D installation art will also be an important example that can depict how human senses are being triggered by artists during their art display. 3D art often relates with the use of virtual material. It needs a broader sensory immersion from the end of the viewers, which can be higher than that of the use of their senses in ordinary day to day life. Artists usually trigger the attention of the senses of the individuals building a virtual world of art that is engaging and interesting at the same time (Turner 2006, 40-50). Conclusion From the overall analysis of the information gathered from secondary sources, it can be concluded that visual art directly attracts the senses of people including vision, hearing and feeling among others. All these senses, one-way or the other, influence the way audiences or people think and perceive a particular form of art. These aspects were better comprehended from in-depth analysis of the works of Spencer Finch and Olafur Eliasson. To be precise, the understanding gained from the above analysis confirms that the senses and visual art pieces are closely related with the one another. The perceptions of people towards any particular aspect are directly relevant to the way their sense comprehend the same. Studies of notable authors and the work of renowned artists clearly affirm that in order to ensure audiences can obtain utmost visual experiences, the interrelation between their senses and the art work created should be taken into consideration. Bibliography Ackerman, Diane. 2011. A Natural History of the Senses. US: Knopf Doubleday Publishing Group. Bacci, Francesca. & Melcher, David. 2011. Art and the Senses. US: Oxford University Press. Bergson, Henri. 2004. Matter and Memory. US: Courier Dover Publications. Eliasson, Olafur. n.d. “Beauty.” Home. Accessed October 28, http://olafureliasson.net/archive/artwork/WEK101824/beauty Finch, Spencer. n.d. “Information.” Home. Accessed October 20, http://www.spencerfinch.com/page/text. Foley-Mendelssohn, D., 2009. “Required Viewing: Spencer Finch’s High Line Installation.” Home. Accessed October 28, http://flavorwire.com/25338/spencer-finch-high-line-creative-time-review-hudson-river Finch, S. 2007. “Trying to Capture a Trick of Light, a Tug of Memory.” Home. Accessed October 28, http://www.nytimes.com/2007/06/19/arts/design/19moca.html?_r=0 Kennedy, Randy. 2012. “Into the Heart of Lightness.” Home. Accessed October 20, http://www.nytimes.com/2012/01/15/arts/design/doug-wheeler-builds-infinity-environment-at-david-zwirner.html?pagewanted=all&_r=0. Merleau-Ponty, M. 2009. Phenomenology of Perception. UK: Routledge. Turner, Mark. 2006. The Artful Mind: Cognitive Science and the Riddle of Human Creativity. US: Oxford University Press. Read More