{"id":2454,"date":"2013-02-12T03:48:47","date_gmt":"2013-02-12T03:48:47","guid":{"rendered":"https:\/\/teach.alimomeni.net\/2013spring1\/?p=2454"},"modified":"2013-03-19T00:39:58","modified_gmt":"2013-03-19T00:39:58","slug":"historical-examples-of-electrified-humans-in-performance","status":"publish","type":"post","link":"https:\/\/teach.alimomeni.net\/2013spring1\/?p=2454","title":{"rendered":"Historical Examples of Electrified Humans in Performance"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"bio 205 frog leg contracting\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/dmQSP8uUwL8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><br \/>\nI was lucky enough to encounter a super well written illustrated acedemic journal entitled\u00a0<em><a href=\"http:\/\/artifacial.org\/electric_performance_art\">Electric Body Manipulation\u00a0as Performance Art:\u00a0A Historical Perspective<\/a>.<\/em><\/p>\n<p>Here is my response. I\u00a0recommend\u00a0skimming the full text.<\/p>\n<p>Quotes:<\/p>\n<p>&#8220;&#8230;the human body as a display device for algorithms that run\u00a0<em id=\"__mceDel\">on digital computers&#8221;<\/em><\/p>\n<p>ca. 1800 &#8220;Aldini, after having cut off the head of a dog, makes the current of a strong battery go through it: the mere contact triggers really terrible convulsions. The jaws open, the teeth chatter, the eyes roll in their sockets; and if reason did not stop the \ufb01red imagination, one would almost believe that the animal is suffering and alive again [42].&#8221;<\/p>\n<p>Electronic\u00a0Muscle\u00a0Stimulation has a longer history in the arts than I had expected. The first nice example of Transcutaneous Electronic Muscle Stimulation(TEMS) was in the 1860&#8217;s. Lookit:<br \/>\n<a href=\"https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.29.20-PM.png\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone  wp-image-2455\" alt=\"Screen Shot 2013-02-11 at 8.29.20 PM\" src=\"https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.29.20-PM.png\" width=\"512\" height=\"398\" srcset=\"https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.29.20-PM.png 732w, https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.29.20-PM-300x233.png 300w\" sizes=\"auto, (max-width: 512px) 100vw, 512px\" \/><\/a><\/p>\n<p><em>This man&#8217;s smile is induce by electric current. It is fake.<\/em><br \/>\n<b>Duchenne de Boulogne\u00a0~1860&#8217;s<\/b><br \/>\nWhat appears at first to be crude early scientific experimentation, takes on an artistic note. <\/p>\n<blockquote><p>One series of photographs about facial expression was deliberately made with \u201can old toothless man, with a thin face, whose features, without being absolutely ugly, approached ordinary triviality and whose facial expression was in perfect agreement with his inoffensive character and his limited intelligence\u201d (Fig. 9). Duchenne explained: \u201cI preferred this coarse face to one of noble, beautiful features . . . because I wanted to prove that, despite defects of shape and lack of plas tic beauty, every human face can become spiritually beautiful through the accurate rendering of emotions\u201d<\/p><\/blockquote>\n<p> De Boulogne&#8217;s motivations were more complex than those of a straight bio-engineering researcher. His findings were published in <a href=\"http:\/\/en.wikipedia.org\/wiki\/M%C3%A9canisme_de_la_physionomie_humaine\">M\u00e9canisme de la physionomie humaine<\/a>, which Charles Darwin drew on heavily for his research on emotional expressivity. <\/p>\n<p><a href=\"https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.38.04-PM.png\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone  wp-image-2456\" alt=\"Screen Shot 2013-02-11 at 8.38.04 PM\" src=\"https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.38.04-PM.png\" width=\"530\" height=\"347\" srcset=\"https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.38.04-PM.png 589w, https:\/\/teach.alimomeni.net\/2013spring1\/wp-content\/uploads\/2013\/02\/Screen-Shot-2013-02-11-at-8.38.04-PM-300x196.png 300w\" sizes=\"auto, (max-width: 530px) 100vw, 530px\" \/><\/a><br \/>\n<b>Arthur Elsenaar<\/b><br \/>\nMid-90&#8217;s facial control art<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I was lucky enough to encounter a super well written illustrated acedemic journal entitled\u00a0Electric Body Manipulation\u00a0as Performance Art:\u00a0A Historical Perspective. Here is my response. I\u00a0recommend\u00a0skimming the full text. Quotes: &#8220;&#8230;the human body as a display device for algorithms that run\u00a0on digital computers&#8221; ca. 1800 &#8220;Aldini, after having cut off the head of a dog, makes [&hellip;]<\/p>\n","protected":false},"author":43,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19,7],"tags":[],"coauthors":[],"class_list":["post-2454","post","type-post","status-publish","format-standard","hentry","category-artists-reference","category-reference"],"_links":{"self":[{"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=\/wp\/v2\/posts\/2454","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=\/wp\/v2\/users\/43"}],"replies":[{"embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2454"}],"version-history":[{"count":9,"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=\/wp\/v2\/posts\/2454\/revisions"}],"predecessor-version":[{"id":2632,"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=\/wp\/v2\/posts\/2454\/revisions\/2632"}],"wp:attachment":[{"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2454"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2013spring1\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=2454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}