Design, Art, Science and Technology: Papers Corporeal Cinema: Tactility and Proprioception in Participatory Art Raivo Kelomees Estonian Academy of Arts Tallinn Estonia
[email protected] Abstract corporeal artistic experience. I then investigate whether In this article I analyse performances, artworks and installations we can talk about the ‘proprioceptive image’ in the same in audiovisual and contemporary art which emphasise tactile and way that we can speak about the artistic, musical or corporeal experiences. This tendency can be observed in technological literary image. This analysis is influenced by a media art, cinema and large visual attractions. I aim to demonstrate that due archaeological approach, in particular Erkki Huhtamo’s to technical developments and new tools, the possibilities now exist interpretation in which his approach is termed for new aesthetic experiences in which the body’s position and its “media archaeology as topos study” or simply “topos biological reactions play a decisive role. archaeology.” I aim to demonstrate how these “topoi”— “haptic and corporeal experience in audiovisual Keywords performances and visual art” or “spatiality, tactility Spatiality, Tactility, Proprioception, Multi-Screen Environments, and proprioception in participatory art”— change and Corporeal Cinematic Experiences, Interactive Art, Biofeedback. “transfigure” those examples in which the corporeal experience is translated into digital data and subsequently Introduction used for manipulations of the artwork. Before starting to In this article I analyse performances, artworks and analyse the works of Jeffrey Shaw, Char Davies and Bill installations in audiovisual and contemporary art which Seaman in the sub-chapter “Proprioception in interactive emphasise tactile and corporeal experiences. This art”, I will provide a series of historical examples which tendency can be observed in technological art, cinema lead to contemporary developments in media art.