New Clinic for Sensory Vitality: Documentation

Assignment,Final Project — miles @ 9:52 am

New Clinic for Sensory Vitality, 2014 from Miles Peyton on Vimeo.

 

NCSV Crit-2

The medical document presented to elder

 

NCSV Crit-9

A medical document with symbols for each treatment

 

NCSV Crit-3

The patient is introduced to the clinic through an immersive audio overview

 

NCSV Crit-4

The components used for the audio overview

 

NCSV Crit-5

The interim treatment: a clinician collects smell samples using syringes

 

NCSV Crit-6

The cyclops walking tour, where the patient sees through the back of their head

 

NCSV Crit-7

The Bubble Sound Massage, carried out by a conductor and group of assistants

 

NCSV Crit-8

The Limping Walking Tour, where the patient sees through their ankle

 

NCSV Crit-10

Final evaluation with elder

New Clinic for Sensory Vitality: Reflections and Revisions

Assignment,Final Project — miles @ 9:29 am

The first New Clinic for Sensory Vitality workshop ran on April 19th. A group of twelve volunteers oversaw the five treatments during the two hours of the event.

This first run of the clinic was not without flaws, many of which were pointed out to me during our class critique. This document outlines a future direction for the project, based on the recommendations that I received and on my own experience running it.

Site

Ideally, a broad demographic would be exposed to the clinic. For this reason, a future iteration of the project would be located at a public site that attracts people of different ages and economic and cultural situations.

Possible sites and/or contexts in Pittsburgh:

– the Point
– buoyant intervention on a river (via The Drift)
– courtyard in front of Giant Eagle
– scenic cemeteries
– an enclosed space like a tent
– VIA festival

Portability

A transient clinic will benefit from the strategies of street musicians. The clinic should be streamlined and portable.

Portability issues to address:

– video glasses and cameras should run on the same type of battery
– the components of each experience should fit in a single crate
– crates will double as table surface
– mode of transportation: bus, van, bikes

Cast

The ages of clinicians impacts the way the clinic is received by the audience. If it is comprised of college-aged actors, then the clinic might be read as a student project. This would undermine its status as a clinic.

A future iteration of NCSV would seek out a more diverse, cross-generational cast. Particularly, the role of elder should not be filled by an 18-19 year old. Here is a post that I put on Craigslist seeking a more appropriate person for this role:

Hello,

I’m a student running a public performance project called the “New Clinic for Sensory Vitality.”

I am looking for someone to fill the role of an elder to interview patients. The elder is a visionary figure who interviews patients about their experience at the clinic, and ideally provides them with guiding advice.

Please contact me if the following describes you:

• 50+ years old
• Comfortable talking to strangers
• Comfortable improvising

If you fit this role, you will perform during the next workshop for about two hours total.

Conversations

Full exchanges between patients and clinicians were not captured on camera, but in my opinion theatricality was one area in which the clinic was lacking. A future iteration of the clinic would approach conversation with more intention and formal rigor.

One technique that artist Tino Sehgal uses to choreograph conversation is prompts, where the first sentence of the conversation is scripted but the rest is improvised. Another lesson from Sehgal is the use of stories to build rapport between strangers. If it is not possible to engage in spontaneous conversation with a patient, the clinician will tell relevant stories, either from previous instances of the clinic or from their past.

Aesthetics

Something that was pointed out to me during the critique was how the clinic was not explicitly medical: it borrowed heavily from the language of corporate branding and new age spirituality. As such, the aesthetics of the clinic need not be explicitly medical. The medical gowns should be replaced by more ambiguous outfits.

Ideas for outfits:

– khaki
– blazers
– official badges

Flow

As some treatments took longer than others, flow became an issue for the clinic. In particular, the Bubble Sound Massage proved to be a bottleneck. Since the Bubble Sound Massage is the treatment that takes the longest, the others treatments will be timed to begin and end with it. One way of doing this is to give a cue when it is time to move to the next treatment. The clinician running the bubble treatment will hit a gong, or make some other signal when they finish.

Revisions to Treatments

Based on the feedback received, minor changes will be made to the treatments. First, having both the Cyclops Walking Tour and the Limping Walking Tour in the same sequence is redundant: the Limping Walking Tour will be removed.

During the event, a clinician ran a treatment for waiting patients. This involved “collecting smells” with syringes. I believe this interim station can be refined. Someone in the critique suggested a scent archive, where different scents are collected and labeled in a grid-like display.

Finally, the procedure for the medical document associated with each patient will be refined. Problematically, the elder did not know what each symbol on the document meant. To solve this, clinicians will stamp the document instead of drawing on it.

I Only Have Eyes For You [Final Project Proposal]

Assignment,Description,Final Project — miles @ 5:45 pm

Design Assignment 4: Action at a Distance [Madeleine + Miles]

Assignment,Submission — miles @ 2:38 am

“Inter Caetera Divina” by Ken Goldberg and Claudia Vera (1992)

chicago

 

Shown at SIGGRAPH in 1992, “Inter Caetera Divina” was a robot art that drew world maps over the course of the 5-day show. The title refers to the 1493 proclamation by Pope Alexander VI that split the New World between Spain and Portugal, and the maps range from the time of Columbus to World War II. The robot art feels like a non-sequitor here – how exactly do they relate to cartography or to the notion of artificial borders? Maybe the durational quality of this work is what connects the technology to the stated theme. I can’t help but feel the precision of the robot belies the provisional and subjective nature of map-making.

More here.

“Big Signal” by Peter Coppin (2000)

Artists,Reference,Robotics — miles @ 8:34 am

bigsigy

 

Funded by NASA and developed at Carnegie Mellon’s Robotics Institute, “Big Signal” was a web interface that let students experience Antarctica via Nomad – a robot prototype that searched for meteorites. The project was deployed to the Carnegie Museum of Natural History, as well as to several middle and elementary schools. Coppin says that the goal of the project was to “place students in a real scientific setting by giving them access to the same data that a scientist would access.”

More here.

“RC Boat” by Nikola Tesla (1898)

Reference,Robotics,Scientific — miles @ 11:52 pm

Tesla_boat

 

At the Electrical Exhibition of 1898, Nikola Tesla demonstrated a radio-controlled boat, an invention that he patented the year prior. The boat itself was powered by several large batteries, and used a new type of radio-activated switch that Tesla had invented.

More here.

“Humper” by Frank Garvey (1994)

Artists,Reference,Robotics,Uncategorized — miles @ 11:25 pm

Artist (and former STUDIO for Creative Inquiry research fellow) Frank Garvey describes “Humper” as a “robotic whore”. He says that a 20,000 volt stungun circuit is embedded in her “genitals”, and that “she knows how to sell it but she don’t come cheap”. It’s worth noting that Version 2 of the robot began at Carnegie Mellon University in 1999.

More here.

Video of “Humper” in action.

 

“Tweenbots” by Kacie Kinzer (2009)

Artists,Reference,Robotics,Uncategorized — miles @ 10:51 pm

tweenbots

 

The Tweetbots are cardboard robots that travel in straight lines. They depend on the help of pedestrians in order to get to their destination. According to creator Kacie Kinzer, not one Tweenbot was lost or damage. This points to our capacity to empathize with personified, non-living objects. I wonder if the project would have been as successful with faceless robots.    

More here.

“On the Red” by Stain (2010)

Artists,Projection,Reference,Technique — miles @ 1:12 pm

“On the Red” was a large scale architectural projection commissioned by the MIGZ International Festival of Modern Music and Media Art. The projection invokes Russian abstract art with its use of bold, vibrant forms. The documentation video was filmed with forced perspective such that the forms appear to be three-dimensional. Additionally, the projection includes the MIGZ festival’s logo, and titles of posts from butdoesitfloat.com; Stain calls these messages “signs of the digital age.”

More here.

 

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