Art as a physicality

  • Feeling textures in a dark room.
  • Person-to-person, massage-style.
  • An unfinished sentence. Each visitor writes their first thought of how it ends, then goes into a room showing everyone else’s finishings.
  • An exhibition of words only, recovering the full-sensory and sensual power of words.
  • A “poem/music exhibition”. Music is played while a poem is shown and possibly read. Creating the sense of epicness, space, and interpenetration within which a poem can exist. The poem not moving, nor confined in a book, nor an excessively decorative piece of visual art – a static object in the world that one sinks into. The gallery set-up conducive towards the poem’s felt-sense vibe.
  • A biennale of different kinds of technologies designed in a more embedded way. Like the Japanese toilet described in In Praise of Shadows by Junichiro Tanizaki – made of wood, dimly lit, set apart from the house “in a grove fragrant with leaves and moss”, unheated, with windows at floor level. Both going back to old and/or primitive versions updated with modern tech, and radical rethinkings within the modern context. Primarily in terms of the aesthetics, not enhanced functionality, while retaining basic functionality (ie not purely art). Avoiding showy “look at how radical I am” art pieces of petulance.
  • Intrinsic physiological experience of an animal. To get a sense for its alien niche-evolved intelligence.
  • Water like in a bubbly hot tub, walled off by glass, putting just your hands into gloves, close-up view of the dynamics of the water as your hands play with it. Set up in an artistic context, not a scientific-exploration context.
  • Artworks in different sensory modalities that wipe out the visual dominance to integrate one into other types of sensing and with it, a different world-experience.
  • Context dependence in art; setting up artworks with eg plants around, different lighting, various “living room-esque” arrangements, etc. Alternating set-ups with the same pieces. Integrating different pieces of art together, not as in a themed gallery (conceptual) but in terms of the cohesive, in-the-moment-present aesthetic (felt-sense).
  • Collectivity and emergent metaphysics via sensory interaction
  • A particular object to smell. Prior to entry into exhibition, each person spends 10 mins smelling while free-writing. The exhibition is everyone’s writings.
  • The same as above but more targeted towards thinkers and artists, more integrative.
  • Video: An organic object, interacted with via touch, smell, and sight, as someone (particularly people whose metaphysics one wishes to extract) talks in real time about their ongoing experience of it and connotation maps.
  • Spire: Moss-covered sculptures, placed on buildings scattered around a city, with a few massive specimens in prominent public spaces. Sleek, wonderfully curved, ovoid or inverted teardrop. Each one unique. Prototype:
Spire prototype

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