Full title:
Co-authorship affected in proxemic relationships between spectator and artwork. The embodied mind in aesthetic experiences, embodied simulation.
Co-authorship affected in proxemic relationships between spectator and artwork. The embodied mind in aesthetic experiences, embodied simulation.
In an abandoned toilet, I strategically placed items in specific locations, creating a type of performance space, where spectators would observe either a still image or an actress repeating one specific movement/action. I did, also, leave most of the pre-existing clutter, allowing for the space to create different spectator narratives.
'There is a singular recurring component present all the time; the element of the music. Almost like a mantra, a ritualistic sound that puts people into a trance. It is also routine like, the more you are in the space the less you notice it, it changes into white noise. Most spectators have mentioned the music as the main element that 'greets' them and 'introduces' to this fictional world they are about to walk into.'
In this research piece I explored what role spatial/physical distance plays in an audience’s psychological and emotional response to art during an aesthetic experience. Drawing on empirical research, I then led a practical experiment of my own. Afterwards, I analysed data based on personal observations and feedback from questionnaires.
Participants were divided into three types of groups.
Group one: Participants may only explore by standing 'outside' the performance space. Some could use their flashlights to look around, while others only had to observe.
Group two: Participants could fully walk around the space but were not allowed to touch anything.
Group three: Participants were allowed to fully walk around the space, touch, change positioning of objects and paint.
Group one: Participants may only explore by standing 'outside' the performance space. Some could use their flashlights to look around, while others only had to observe.
Group two: Participants could fully walk around the space but were not allowed to touch anything.
Group three: Participants were allowed to fully walk around the space, touch, change positioning of objects and paint.
In all three cases there would sometimes also be added an actor.
Video example of the experience: