# data[].attributes.attachment_link.title
Consciousness and the Mystery of Existence - Documentary about Consciousness and Reality (2020)

# data[].attributes.body
双缝实验

# data[].attributes.attachment_link.title
Does Consciousness Create Reality? Double Slit Experiment may show the Answer.

# data[].attributes.attachment_link.title
How out-of-body experiences could transform yourself and society | Nanci Trivellato | TEDxPassoFundo

# data[].attributes.attachment_link.title
Searching for my sense | Moon Ribas | TEDxMünchen

# data[].attributes.attachment_link.title
Anil Seth: Your brain hallucinates your conscious reality

# data[].attributes.attachment_link.description
Right now, billions of neurons in your brain are working together to generate a conscious experience -- and not just any conscious experience, your experience of the world around you and of yourself within it. How does this happen? According to neuroscientist Anil Seth, we're all hallucinating all the time; when we agree about our hallucinations, we call it "reality."

# data[].attributes.attachment_link.readable_text
"You are a multisensory being. So why is it that so much of our media only play to one or two of those senses? We are engaging more of our body, more of our brain and we are creating a more holistic, more human experience", Charles Melcher (2016).

In the past, the majority of artworks were displayed, focusing solely on visual presentation, as we can see from paintings and sculptures; the emphasis on sight making the audience pose merely as passive players. Leaping forward to the present, progress and technological advancement as well as interactive artwork allows people to view art not only through the form of visual experience, but through a combination of many, known as â€œmultisensory experienceâ€.

Figure 1.0; the artwork in Belvedere, Vienna, and Tate Modern, London. (Harrnpinijsak, 2019)

The important impact of this is that it has shifted the role of the audience from being a passive to an active player in the midst of art. This role change means that an interaction between both artwork and audience has been developed for the senses. Furthermore, they are now sometimes invited to be a part of the experience employing all the senses. This realisation has led to artworks being utilised by many artists throughout the world to evoke a new form of experience.Â For example, the work of Olafur Eliasson, the Danish-Icelandic artist revolves around the form of sensations. In many of his works they were designed to make the audience more aware of their senses as never before. The main factor in making such artworks possible is the use of apparatus resulting from technological development, thus, leading to new ways of designing multisensory experiences, such as interactive technology, augmented reality and virtual reality. Distinctive examples from this can be seen in the work of Marshmallow Laser Feast, which draw people into an immersive experience in the virtual world.

In order to design an immersive experience artwork sensory design has, without a doubt, the most impact, "sensory design activates touch, sound, smell, taste, and the wisdom of the body. The sensory design supports everyone's opportunity to receive information, explore the world, and experience joy, wonder, and social connections, regardless of our sensory abilities." (Lupton, E. and Lipps, A., 2018, p. 9).Â In response to this, Charles Spence an experimental psychologist who has contributed most to the understanding of sensation and perception has said that "what we see ultimately determines what we perceive, even when the other senses may be sending our brains a different message." Nothing could be more real than understanding vision as the dominant sense, which can influence other senses and affect overall perception (Spence, 2012). Yet, on the other hand, Juhani Pallasmaa a Finnish architect and former professor of architecture and dean at the Helsinki University of Technology argued that "vision separates us from the world, whereas the other senses unite us with it. (Pallasmaa, 2014) So what if this distinctive sense, the sense of sight, is diminished, are the other senses stimulated?

Correspondingly, in this paper, I will discuss two different viewpoints, and consider how sensory interaction affects perceptual experience in an immersive artwork. This is because the main objective of my research is not only to gain insights into sensory interaction and multisensory perception but also to understand immersive and sensory environment in order to design such an immersive experience. I shall attempt to analyse and answer the questions of how multisensory perception works, how one sensory input impacts another, how sensory interaction works, how sensory information affects people's feelings and what happen to the other senses if one is shut down.

In Chapter 1, I will explain some background based upon literature on multisensory perception and give some examples of sensory interaction, as well asÂ reviewing a case study of multisensory art experience, Tate Sensorium.Â For Chapter 2, my experiment through the design project, r will be illustrated. Chapter 3 will be a demonstration of how visual deprivation affects sensory augmentation at the exhibition and a commercial context will be demonstrated using the case studies of Dialogue in The Dark and Dining in the Dark.Â Moreover, two more exciting case studies in immersive artwork will be presented: Your Blind Passenger by Olafur Eliasson. This leads to the development of a design project named Sounds, and Sweet Airs in Chapter 4. In the final chapter, conclusions reached from this research will be debated.

Chapter 1: Multisensory Inputs and Perception

â€œThe senses move us through the space. Our sense organs are connected to a head that turns, arms that reach, and bodies that wander and seek. Sensory experience hits us from all directions.â€ (Lupton, E. and Lipps, A., 2018, p.10)

Figure 1.1; Â Sensory experience (Joy Monice Malnar and Frank Vodvarke, Ranges of the senses, from Sensory Design, University of Minnesota Press; 2004)

In everyday life, people understand and perceive the world with their senses in order to receive sensory information. Sensation is activated by the receptors (forms of neurons activated by stimuli) located in the eyes, ears, skin, nasal cavities, and tongue. The five basic senses are sight (visual sense), hearing (auditory sense), taste (gustatory sense), smell (olfactory sense) and touch (somatosensory sense). In addition to these senses, there are other sensory modalities, including the sense of temperature (thermoception), the senses of movement and position (kinesthesia and proprioception), pain, balance, vibration, and various other internal stimuli. (â€˜Senseâ€™, 2019; Ciccarelli, S. and Noland White, 2017). The insights from understanding senses can have a crucial impact on our lives. Ciccarelli and Noland White (2017, p.89) claimed that â€œwithout sensations to tell us what is outside our own mental world, we would live entirely in our own mindsâ€.

1.1. Sensation and Perception.

Sensation and perception are interrelated and cannot be distinguished from one another if the physical world and beyond is to be understood. Thus, to understand ourselves and the world both sensation and perception are required.

I will first give an overview of what defines the two and how they lead to sensation interaction. Â First and foremost it must be realised in this regard that senses are encoded within an organism to receive and interpret sensory information. Sensory signals are united and unified to form a perception of the world,Â perception being the conscious form of sensory experience (Goldstein, 2009; Harris et al., 2015).

First of all, sensation is defined as the process of organising and interpreting the sensory data we have received which later transfers to our brain. In detail, it begins when a person processes visual information in the brain, and then visual information signals are sent to other neural sites (Damasio, 2000). Perception is the process of organising and interpreting sensory information, thus enabling us to recognise meaningful objects and events.

Consequently, there are two main approaches to understanding theories of perception or how human beings perceive the world. The first process is bottom-up processing, which primarily refers to the quality and content that sensory input plays in determining further sensory data processing in our cognition.

For instance, when we perceive a tree, our sensors detect and collect data such as points, horizontal and vertical lines. Later, we assemble them into the complex perception of an object identifying it as a tree. (DÃ©muth, 2013; Ciccarelli and Noland White, 2018). In short, it is a process involving the analysis of small features and information to build up a complete perceived picture (Ciccarelli and Noland White, 2018). Bottom-up processing is also known as data-driven processing since perception begins with the stimulus itself. McLeod (2008)

Contrarily, the other theory of a top-down process indicates that perception is possible only using mental representations, creating pictures of given reality. In summary, â€œthe top-down process utilizes preexisting knowledge to organize individual features into a unified wholeâ€ (Ciccarelli and Noland White, 2018). For example, handwriting that is hard to read is more accessible when reading complete sentences than when reading single and isolated words. This is because the meaning of the surrounding words provides a context to aid understanding (McLeod, 2008, p.1). From these explanations, it could be understood that sensation is the primary process of receiving the stimuli from the physical world, whereas perception is associated with memory and experiences in a person effecting a higher context of mental exploration.

Traditionally, the human sensory systems (e.g., vision, audition, and olfaction) have been viewed as separated entities, but, in fact, information extracted from a single object is experienced across different senses, which becomes perceptual experience (Persson, 2011).

1.2. Multisensory perception

In the past, a common belief regarding personal sense was that vision is used for perceiving material objects; hearing or audition for the perception primarily of the sources of sounds. However, to perceive objects, it involves not only seeing but also hearing things in the external world. Today, scientists shape the understanding of sensory perception as multisensory. Matthew Nudds is a British philosopher and Chair of the Faculty of Social Sciences at the University of Warwick who specialises in work on the philosophies of mind and perception. He sheds light on the science of multisensory perception, showing that perceptual experience operates across all our senses simultaneously resulting from not only one sense but rather through many (Nudds, 2014) More than one sense in perceiving one particular object is being utilised. Processing information via different senses guides how data is processed from the same object. Therefore, the traditional understanding of how senses operate should be re-evaluated. Regarding his direct claim, Nudds highlighted that â€œmultisensory perception cannot simply be the combined operation of each of the individual senses, but that some kind of integration of information across the senses is required.â€ (Nudds, 2014, p.20).

The Finnish architect, Professor Juhani Pallasmaa, who is interested not only in the realm of architecture but also in the exploration of philosophy, also firmly believes that our body is not only a mere physical entity, but is filled with memories and dreams, as well as our past and future. The area of multisensory experience piqued his interest in attempting to fuse the theory of sensory experience with how art and architecture are perceived. He pointed out that our eyes are the foundation of how senses and body collaborate; more importantly, our sense of reality is strengthened and articulated by this interaction (Pallasmaa, 2014).

At the heart of his research, Pallasmaa explored how multisensory experience is portrayed in architecture and how people sense it and interact with it. Human experience of the world is not limited to the use of one sense at a time, but uses many at the same time, interacting, integrating and influencing each other. He therefore, drew correlations among senses where vision had revealed what the sense of touch already knew. Moreover, the sense of touch projects vision to the subconscious and scent elicits memories of sights, imagination bringing them together.

In return, we humans are in constant dialogue and interact with the environment and are the entities experiencing art which integrate themselves into this art as well. He wrote â€œarchitecture strengthens the existential experience, oneâ€™s sense of being in the world, and this is essentially a strengthened experience of selfâ€ (Pallasmaa, 2014, p. 45).

The question of why the subject of multisensory experience is essential to this paper is far beyond only understanding how senses associate. Driver and Spence (2000) stated that our brains continually integrate the information from multisensory environments that surround us. It is a process of information integration from different sensory receptors that generates a unified multisensory perceptual experience that fills our everyday lives.

1.3. Sensory interaction (Crossmodal interaction)Â

Crossmodal perception has been studied by Charles Spence at the Oxford Crossmodal Research Laboratory. He is a professor of experimental psychology and has stated in recent years that studying the five classic senses of vision, hearing, touch, smell and taste in isolation is less effective than applying crossmodal principles, as interaction takes part in sensory processing suggesting it is modulated by the interaction of information from and to the other senses. As a consequence, Spence et al. (2009) pose questions asking why the voice of the ventriloquist appears to come from the lips of his/her dummy or why food loses its taste when your nose is blocked, or whether the blind hear better or the deaf have enhanced visual sensitivity. I will present two examples focusing on visual-auditory interaction. By studying this, it helped me design a better experience in my first project, Translator, which plays with two main senses, sight and hearing.Â The way an audience perceives the sound is affected by whether they have their eyes open or shut. I will explain more in detail how this works in my projects ,Â Translator as well as Sounds and Sweet Airs, in Chapter 2 and Chapter 4 respectively.

1.3.1. The McGurk Effect

The McGurk effect is one of the most eye-opening effects of how visual and auditory stimuli affect our perception of psychology. Psychologists Harry McGurk and John MacDonald (1976) conducted this experiment, referring to it as â€œhearing lips and seeing voicesâ€. They first recorded the sound â€œbaâ€ Â which was then dubbed on to lip movements for â€œgaâ€ on the video. In the experiment, participants were asked to watch the video and answer what sound they had heard when watching the video. The twist here is that they heard â€œdaâ€, and neither â€œbaâ€ nor â€œgaâ€ (Tiippana, 2014). Tiippana (2014) added that the McGurk effect happens due to multisensory integration, which in return results in an altered auditory perception, and if this integration does not happen, participants would likely respond to either what they hear or what they see.

The reason this experiment is at the centre of attention in the area of perception is because it portrays a crucial aspect of how speech is perceived. Before this, it was regarded that speech perception was a purely auditory process, however, this experiment shaped the subject of multi-sensory integration.

1.3.2. The Ventriloquism Effect

The ventriloquism effect is another case of multi-sensory integration. The word ventriloquism refers to crossmodal interaction between auditory and visual inputs which are observed in sensory conflict situations (Bertelson, 1999). In other words, this effect can be seen when we perceive that sound is coming from a different location to where the sound is produced due to the influence of visualÂ information. In most cases, a person (or a puppeteer) is equipped with his puppet in his or her hand.Â The speaker talks with an immobile mouth while at the same time moving the puppetâ€™s mouth and facial expressions according to what he or she is speaking about, as if the sound was being produced by the puppet itself. This ventriloquism effect is a great example of visual capture. Auditory information received in this case is challenging since the cues are distorted by reverberation in the environment, and in humans at least, the auditory system is inferior to the visual system (Callan et al., 2015). I will explain this effect in both my projects,Â Translator as well as Sounds and Sweet Airs, in Chapters 3 and 5 respectively.

Figure 1.2: The McGurk effect (BBC, 2010) andÂ The Ventriloquism Effect, Ray Alan and Lord Charles (1954)

All in all, the two effects of multisensory integration are not only integration and influence,Â but also show that sometimes, one sense can dominate another, resulting in the distortion of our perception.

1.4. Bottom-up and Top-Down Processing

A mention of the two most renowned psychologists James J. Gibson and Richard Langton Gregory cannot be neglected as they are the contributors to how we, today, see perception theory and how it has shaped the way we view the world.

Fundamentally, GibsonÂ´s bottom-up theory is concluded from a visual system by ever-increasing the complexity of analysis of raw sensory data, claiming the environment contains all of the information needed to specify its properties. Hence, perceiving these properties is a matter of detecting the information available in the environment (Gibson, 2015, p.140). Gibson focused solely on the biological aspect of what perception is, relying on ecological aspects. However, what makes his theory most controversial is that he avoids touching upon the difficulty of explaining how the mind organises sensation stimuli.

Gregoryâ€™s top-down theory argued that stimuli received from the environment lose their properties over the time it takes to reach the brain. Therefore, we must rely on our cognition, memory, and experience to construct our reality. There are however, two views of the science behind perception.

Figure 1.3; Â The comparison between Bottom-Up and Top-Down Processing (Harnpinijsak, 2019)

There is a clear distinction between the two with Gibson believing that perception is a direct process between the environment and ourselves without any learning or interpretation necessary along the way in order to specify reality. Gregory on the other hand, firmly believed that the external information received is not sufficient to portray reality, and experiences and memory play crucial roles in determining how the world actually is. I shall explain this in Chapter 3 in which I describe my design project experiment, Rain Translator, and I will give some concrete examples of how it works.

1.5. Sight as a dominant sense.

The perception of sight as our most important sense is well-grounded in physiological, perceptual and psychological facts. (Juhani Pallasmaa, 2005, p.39)

Sight is the most obvious necessity for viewing artwork; it is the first step in drawing people into experiencing a work of art. This claim is also supported in neuroscience by Jennifer K. Bizley and Andrew J. King (2012). The scientists explained that visual stimuli influences other senses in numerous ways, one of them being when neurons send signals from and to the brain which later distribute to the auditory cortex for the identification of possible physical functions. In theory, the influences could emerge from direct projections or be inherited from multisensory nuclei; another possibility is that multi-senses associate with other areas in the temporal, parietal, and frontal cortex.

Bizley and King (2012) have also underlined the case of how visual perception has a crucial impact on the evaluation of flavour with Wheatley (1973) suggesting that there is a strong correlation between colour and pleasure which is derived from food. The experiment utilises colour-masking lighting conditions, starting with a group of people eating a meal of steak, french fries and peas, however, halfway through the meal the actual colours of the food were revealed showing a blue steak, green French fries and peas. As a result, Wheatley concluded that vision was sufficient to make people feel nauseous and that it also has a profound influence on the other senses. Spence (2010) also commented that altering the colour of food and drinks can have an impact on taste and flavour. Another study we should consider is by Zampini et al., (2008). Zampini and his colleagues conducted one experiment in which they changed the hue of a drink. Cherry-flavoured drinks were coloured green and orange and the intriguing result suggested that participants experienced tasting lime and orange due to the altered colours.

Obviously we rely on our perception in viewing and comprehending the world with its objects, events, memories, and experiences which result from the integration of sensory input that simultaneously evokes reactions in our sensory systems (vision, audition, touch, taste, and smell) (Zampini and Spence, 2012). The reason why I mention this example is to illustrate that not only vision can affect sound and vice versa, which I mentioned before, but vision may also influence other stimuli: auditory, gustatory, olfactory and somatosensory. So evidently vision dominates the other senses and the way one sense interacts with another could affect our perceptual experience in many ways.

1.6. Multisensory experience in art museum reviews

â€œStimulate your sense of taste, touch, smell and hearing in this immersive art experienceâ€ Can taste, touch, smell and sound change the way we â€˜seeâ€™ art? (Tate, 2019)Â

In the general setting of an art museum these days, the phrase â€˜do not touchâ€™ is the boundary between artworks and the audience to prevent people stepping close to the exhibits. I ask why it is only one sense that is provided for in a gallery setting, while others are dissuaded?

Figure 1.4; David Adjaye, Making memory at Design Museum. (2019)

Penelope Curtis (2014, cited in Beanland, 2014), former director of Tate Britain, stated that â€œour challenge is to enable people to see and feel art in ways that maintain the primacy of that experience.â€ Likewise, she believed that â€œlooking at art slows us down and takes us in unexpected directions: this is increasingly unusual â€" and something people cherish.â€ It is undoubtedly true that spending time in an art museum allow us to slow down and appreciate the artworks.Â Only seeing an exhibit can, however, not attract people to stay and slow down as they are so often distracted by electronic devices such as mobile phones, and lose concentration on what is before them. Speaking personally, I wonder whether the direction that art in art museums is taking, could be developed in new ways to engage people and evoke all of the human senses. This has led me to study some of the experimental works on multisensory design. A single, but striking, example of this is the Tate Sensorium project. An aspect of multi-sensory, immersive design in an art museum has been investigated by Tom Pursey and David Lomas of Flying Object, London. This project was exhibited at Tate Britain in 2015. In order to evaluate visitorsâ€™ experiences, the team from the University of Sussex, Computer Human Interaction Lab took part in this project as well. I will consider their research paper called â€œThe How and Why behind a Multisensory Art Displayâ€ (2017), as a case study.

The designers, Tom Pursey and David Lomas, wanted to explore and enhance the experience of visual art by addingÂ sounds, taste, touch and smell. The aim of this project was to design an art experience for museum goers that was immersive rather than isolated, and that was more explicit and more memorable by engaging all the senses, not just vision. (Pursey and Lomas, 2018) Thus, there were four different artworks presented in this exhibition. Basically, each painting was presented using two main sensory stimuli, vision and sound. Later other senses were added according to the designersâ€™ plan see Figure 2.7 and Figure 2.8. According to Ablart and his team (2017), they collected feedback through questionnaires and an interview. More than 80 percent of visitors assessed the experience as being very appealing and showed interest in returning back for more multisensory experiences. (Ablart et al., 2017)

Figure 1.5: The four paintings and their multisensory components included (from left to right):Â by Richard Hamilton,Â Full Stop by John Latham,Â In the HoldÂ by David Bomberg, andÂ Figure in a LandscapeÂ by Francis Bacon. (Photograph: Joe Humphrys/Tate Photography, 2015)

Figure 1.6: Selected paintings and their associated sensory stimuli (Ablart et al., 2017)

All in all, the benefit of multi-sensory experience in the exhibition, Tate Sensorium, tended to increase audiencesâ€™ engagement with this new experience of viewing artwork, compared to traditional art galleries and attracted expansive publicity not only in the UK but also around the world (Ablart et al., 2017)

Interactive technology, expands the boundaries of design, enabling the development of artwork in the areas of interactive media and public engagement. Personally, I find this approach very interesting and could lead toÂ potential development of immersive artwork in an art gallery context, using interactive technology in multisensory design. The painting Figure in a Landscape by Francis Bacon which was exhibited with four sensory stimuli, drew my attention to how a multisensory experience should be presented. I wonder whether it was really necessary to present such an experience using so many sensory stimuli. In my case study in Chapter 3, I will explore this topic from a critical, yet curious viewpoint, asking what would happen if only one sense was used in order to prompt a reaction from other senses.

Chapter 2: Translator

Translator performs as a medium, translating the sound of the rain from Bangkok to London to elicit sensory experience by using a mechanism and different kinds of materials to generate the sound. The installation does not reproduce the sound of rain, but instead focuses on representing a personal memory of the rain in my home, Bangkok, by using a range of mechanical instruments to compose different layers of rain. Due to this common basis, every listenerâ€™s interpretation is unique, the downpour unfolds within the imagination of the audience.

In Chapter 1, psychology, philosophy and neuroscience aspects were explored. This project will examine multisensory design where just one sense â€" sound â€" is provided. In order to understand how sensory interaction affects perceptual experience in immersive artwork, my teammates and I designed an experiment using our installation, Rain Translator to evaluate some aspects of the theoretical basis. In this chapter, the feelings aroused in people reacting to sensory input will be discussed.

Apart from providing a stimulus for the sense of hearing, we also shut down one primary sense, which is vision. In Chapter 1, I mentioned how vision as the dominant sense. (Pallasmaa, 2005) In this project, we challenge the audienceâ€™s senses by initially depriving them of their prevailing sense, and let them participate using their other senses before finally revealing an artwork. The project works as follows; we designed the sequence of an experience by shutting down one sense in order to evoke others. Instead of exhibiting the artwork itself, we used another design approach to draw the audience into this installation.

â€œToÂ designÂ for allÂ the senses:Â startÂ with aÂ blindfold.â€ (Mau, 2018)

Figure 2.1; Putting on a raincoat and blindfold glasses (Harnpinijsak, 2019)

For the whole experience, see Figure 2.2, first of all, we asked the participant to put on a raincoat and blindfold glasses without saying what was about to happen or where they were about to be taken. Secondly, they were then guided to the 3D sound space led by a staff member. Thirdly, the sound performance produced by the mechanism in 3D sound space was then enjoyed with the participants still blindfolded, but otherwise left to themselves. Later, the glasses were removed and the machine that had produced the sounds they had just listened to in the 3D sound space was revealed, at which point they were also visually engaged. Visual/auditory interaction comes into effect and the sounds they hear link with visual experience. A short discussion followed in order to interview participants and this will be explained at the end of this chapter.

Figure 2.2; An Experience in Translator (Harnpinijsak, Tang, Lim, 2019)

To design a sensory experience, the theory of sensory interaction has to be considered. I mentioned multisensory interaction in Chapter 1. Obviously vision is a dominant sense and the senses of vision and hearing interact very closely. Spence et al. (2009) The McGurk effect shows us how the visual system can affect the work process of the auditory system and in our project we demonstrate this by initially withholding sight and not allowing both vision and hearing at the same time. Harry McGurk and John MacDonald (1976) Applied to this project, we gave some visual cues before the experience started. This led to the effect visual memory has on auditory perception when we shut down vision.

Figure 2.3; The Diagram of Sound Layers from my Perception (Harnpinijsak, 2019)

Figure 2.4; Definig Four types of Machanism (Harnpinijsak, Tang, Lim, 2019)

Apart from the sensory experience in this exhibition, we also interviewed participants. The aim of this project was also to understand sensory perception and how sensory interaction works. How do sensory inputs linked with feeling lead to a memory? We therefore conducted short discussions with the audience at the end of the experience to study their perception/perceptual experience.

Figure 2.5; The interviewâ€™s result (Harnpinijsak, Tang, Lim, 2019)

"Prior experience tells our brains what to expect." (Ellen Lupton and Andrea Lipps, 2018, p.10)

Results from the first question showed that according to audienceâ€™s different memories and experiences, they tended to perceive the sound of the rain differently. The audience knew nothing about this experience, so that is why the experiment showed that different people have different interpretations of what they perceive. In our case, Western people were more likely to think of a waterfall rather than rain. On the other hand, audiences from South East Asia tended to recognise this sound as rain falling heavily on different materials. Theoretically, according to top-down processing (Gregory, 1970), with insufficient information, your brain will apply previous knowledge and past experiences to construct their own perception and then interpret in their own ways.

â€œSound acts as a key, opening doors to reunite us with the past; it stimulates images that all of us have hidden various depths of our psyche.â€(Augoyard and Torgue, 2005, p.22)

In answering the second question, as shown above, the participants showed individual feelings based on their subjective experiences. How does this feeling happen? Once they receive sensory stimuli from the surroundings, they become aware of their own feelings. Damasio (2000) talks of how people feel. It is undeniable that human emotions are special in the way they associate complex ideas, values, principles, and judgments (Damasio, 2000). Therefore, he indicated different stages "from emotion to feeling", beginning with the processing of sensory information in the brain, then sensory information signals are sent to other neural sites associated with areas inducing emotion. These sites then send signals to other brain sites for the body and the brain to create emotion which results as changes in the body. It is at this stage that feelings emerge (Damasio, 2000). The researchers also suggested that memory is enhanced by both positive and negative emotion, as well as having distinctive effects on cognitive processes (2008). In other words, individuals are likely to remember more emotional events better than non-emotional ones. (Linda J. Levine1, David A. Pizarro, 2004; Kensinger, 2008)

â€œNot only is this sound remembered, but all the other sensorial and affective components also cross the threshold of consciousness. All the senses may act as stimuli of anamnesis; sight, taste and smell as much as hearing.â€ (Augoyard et al., 2005, p.22)

As we had only provided the test persons with one sense, the sound of the rain, it was exciting to hear their answers to the final question, that this one sense could lead to the experience of other senses, in particular, smell. My view of this is that once vision is shut down, it opens up the imagination.

In conclusion, from this project I have learned that, as initially hypothesised, when the dominant sense is shut down, focus will be more on other senses with one sense sufficing in linking to personal sensory memory. Also, when the installation was revealed, audiences were able to match the sound they had heard in the 3D sound space with the installation in front of them. Thus it was shown that visual-auditory interaction works effectively when both sound and vision are synchronised. As a consequence, it can be seen that sensory interaction affects perceptual experience in order to transport people into their own experiences and link to personal memory.

I have learned three concepts from this experiment: firstly, based on different memories, experiences, and background, participants have different interpretations of what they perceive. Secondly, specific sensory memory, when related to positive or negative emotions rather than neutral emotions, reinforced subjective feeling. Thirdly, memory is linked with senses. In this experiment, sound could link to vision, touch and especially scent. As Lupton, E. and Lipps, A. (2018, p.10) stated â€œThe senses mix with memory.â€

From this case study, of all the results I got from the discussion, the most interesting was thatÂ when the sense of sight is shut down, the other senses work better. This has led me to explore visual deprivation, which is related to sensory augmentation. How can senses be augmented in different ways and if one sense is shut down, what happens with the others?

Chapter 3: Visual Deprivation and Sensory Augmentation

Â â€œDarkness helps us hear more clearly, shutting out visual signals can help bring other senses into focus.â€ (Lupton, E. and Lipps, A., 2018)

I mentioned in Chapter 1 how vision is our dominant sense in multisensory perception. (Zampini and Spence, 2012) Likewise in my report in Chapter 2 onÂ Translator, I challenged peopleâ€™s senses is this design project by blindfolding them and found that visual deprivation leads to an extraordinary experience and memorable sensory experience by evoking other senses. In this chapter, I will explore what happens to peopleâ€™s perception if they are deprived of an essential sense, by giving examples.

John P.Zubek is a pioneer who wrote about sensory deprivation in his book named â€œSensory Deprivation. Fifteen Years of Researchâ€.Â He discovered some of the most dramatic effects of sensory deprivation such as hallucinations and used them as a useful technique in the study of various topics such as brain function, stress, personality and motivational theory, as well as applied psychology.

However, in this paper, I will focus only on visual deprivation that augments other senses, as seen in our blindfolded experience. I will examine the results of the absence of visual stimuli in an exhibition context, Dialogue in The Dark, and the unique dining experience of, Dining in the Dark or Dans le noir. Later, the case study on visual deprivation by the artist Olafur Elisson, your blind passenger, will be touched upon.

How does the loss of one sense impact the others?

Case Study 01: Dialogue in the Dark

Figure 3.1: Dialogue in the Dark Â (Photograph: Dialogue Social Enterprise,

https://www.timeout.com/melbourne/things-to-do/dialogue-in-the-dark)

Dialogue in the Dark is an immersive experience in absolute darkness. It is about educating human beings to understand the way blind people live their daily lives, employing many settings such as walking in the park, across the road during the traffic congestion and more. In this exhibition, visitors have to rely entirely on their other senses because of losing their sense of vision. They are accompanied by blind guides. Situations are reversed; the sighted becoming blind and the blind becoming sighted.

Since all senses are linked to each other as mentioned in Chapter 2, blind people interpret sensory information, linking it through cross-modal interaction. Even though they cannot see, they can envision their surroundings and events in their daily lives by using either top-down, or bottom-up processing. Donovan Tokuyama (2017) wrote in his article â€œSupersensors: How the loss of one sense impacts the othersâ€ that â€œThe lack of sensory input causes a sequence of events within the brain that allows the other senses to take over the roles left unoccupied.â€ (Tokuyama, 2017)

Experiencing Dialogue in the Dark and temporarily losing my sense of vision was, for me, an uncontrolled and unpredictable situation. It made me think again about my other senses and realise that I rarely use them to perceive the environment deliberately. Am I missing something in my everyday life? Am I neglecting to sense the environment in a more intense way?

Case Study 02: Dining in the Dark

My second case study, Dining in the Dark, is a unique dining experience in pitch darkness. A pioneer of the blind experience is Axel Rudolph, a psychologist. It is undoubtedly true that if you cannot see the food while you are eating, the other senses are heightened.Â â€œYou smell better, you are more receptive to differences in texture, consistency and temperatureâ€¦ it is a holistic experienceâ€ (Rudolph, cited in Read et al., 2011, p.16)

The reason for this being that closing oneâ€™s eyes has been shown to lead to a more interoceptive state of awareness (Marx et al., 2003). Thus, it could be argued that, if anything, any advantageous results on flavour perception during dining in the dark are more likely to be felt by those diners who choose to keep their eyes closed while eating and drinking. (Marx et al., 2003, cited in Charles Spence and Betina Piqueras-Fiszman 2012).

The only possible conclusion to be drawn from all this is that by being deprived of one crucial sense, in particular vision, this can heighten other senses during a dining experience and that people who close their eyes are likely to be more aware and perceive flavour better than people who leave their eyes open.

Case Study 03: Your Blind Passenger

Figure 3.3; Your Blind Passenger (Harnpinijsak, 2019)

Moving on to the third case study: what if vision is not totally shut down but only partially. Your Blind Passenger designed by Olafur Eliasson was exhibited at Tate Modern in 2019. This project is a 39 metre long tunnel installation, filled with fog, which provides visibility at just 1.5 metres. It was the artistâ€™s intention to temporarily blind the visitors with brightly illuminated fog that requires them to rely on other senses to orient themselves in relation to their surroundings. As they progress through the corridor, they move through zones of different hues. â€œOur sense of orientation is challenged and the coordinates of our spaces, collective and personal, have to be renegotiated.â€ (Olafur Eliasson, 2010)

It can be seen that, visually, the colour of the lighting and the fog became an essential part of the surroundings in order to reduce vision and blur boundaries leading to a sense of awareness. All other senses awake when the most important sense cannot receive information clearly. Orange light in the first stage reminded me of being somewhere during the summer and thus also affected the temperature I perceived in the space.

Chapter 4: Sounds, and Sweet Airs (S&SA)

After having laid a theoretical foundation and presented some case studies, I will now put that into practice with my design project in which I will use technology to help in expanding an experience. This is a collaborative project with three specialised aspects. Within my specific area of interest, I will consider sensory experience in immersive artwork which is related to sensory interaction and will focus on visual deprivation and sensory augmentation, to create a new type of multisensory experience in an exhibition context. In this chapter I will explain two examples of this project which were exhibited in two different settings.Â Moreover, the interaction between the audience and art installation in the space will be discussed.

Figure 4.1; Walking into the space (Harnpinijsak, 2019)

â€œBe not afeard, the isle is full of noises. Sounds, and sweet airs, that give delight, and hurt not.â€ Â Â Â Â Â Â Â Â Â Â Â Â Â (Shakespeare and Kermode, 1998)

Sounds and Sweet Airs is a sensory design project, which reflects on natural sound ecologies to create a synthetic environment around human-technology interaction. We designed creatures to create a soundscape that reflects the state of the place in the physical world and extends a sensory experience into the virtual world. This should encourage people to rethink their relationship with the environment.

What I want to achieve in this artwork is that I want to activate peopleâ€™s senses to be aware of themselves and their surroundings, allowing people to create an imagination and engage themselves with the world through the experience. In terms of developing sensibility, evoking feeling and also engaging. By applying the theory of sensory interaction, focusing on visual deprivation to augment the other senses. This would lead audiences to immerse themselves in the artwork.

In order to achieve this in our last project, Translator, we deprived our participants of the visual experience of our installation. In this project, we will not cut off all vision, but will provide some information. Once you cannot see things clearly, a sense of orientation becomes more important plus an understanding of the coordinates of the space. (Olafur Eliasson, 2010) You become aware of every single step you take, aware of the things surrounding you, aware of every sensory cue received, similar to the case in which I referenced Your Blind Passenger. As Damasio (2000) has mentioned, once you process sensory information in the brain an emotion occurs and then feelings emerge. Memory is then enhanced by emotion, whether positive or negative. In other words, once you are aware of your senses, this animates sensory memory due to the sensory cue and will probably guide you to a memory. As a consequence, I hope that the purpose of this project, which is to encourage people to rethink their relationship with the environment, will be executed in a few ways. Everything audiences hear, might not be the same as they see according to the ventriloquism effect in Chapter 1 where sensory interaction between auditory and visual stimuli distorts the localisation of the auditory source. Callan (2015) mentioned that the cues are distorted by reverberation in the environment, and in humans, the auditory system is inferior to the visual.Â (Callan et al., 2015) So that is why even if sound comes from elsewhere, people tend to synchronise the source of the sound with visual events in the environment.

4.1. Interactive Artwork

We developed the technological artworks, which we, in this project, refer to as â€œcreaturesâ€. These creatures, physical objects in space, respond to audiencesâ€™ movement and interact with people differently. This leads to audience engagement, guiding participants to be active rather than passive players. The participantsâ€™ every movement will affect the surrounding sound; in this case, by using interactive technology such as sensors, a tracking system in the physical space, as well as the augmentation of human senses to mix reality with virtual sound. This virtual sound is composed using physical objects, which also reflect natural sounds in the virtual world.

4.2. Single Player and Multiple Players

There are two options to experience the artwork. One is that multiple players in the physical space. Another is that only one player in the virtual space overlapping with physical space; this is by wearing a provided headphone. According to the feedback, people who wore a headphone tend to focus more on listening. Nevertheless, people who did not wear a headphone tend to interact with the creatures and focus on objects in the space.

Figure 4.3; Single player and Multiple player (Harnpinijsak, 2019)

4.3. Designing the System: A Synthetic Environment with Creature Inhabitants

Instead of producing all sound within the space, we extended the experience into the virtual world, duplicating the surrounding soundscape and placing it in the virtual world. As the sound came from different directions in the virtual world, the less that participants could see of this in the physical world meant that they became more aware of their bodies in relationship to the installation. To create an emotional and imaginative experience, the associated sensations allowed audiences to engage with and immerse themselves in the environment. This is not just about seeing with eyes or hearing with ears but experiencing via the whole body.

Â â€œWhat you see, it might not be the same as what you hear.â€ (Harnpinijsak, 2019)

Figure 4.3; Physical object and Virtual Sound (Harnpinijsak, 2019)

4.3.1. The interaction between creatures and human, also the environment

â€œWhen you move around, you will affect the sound surrounding you.â€ (Harnpinijsak, 2019)

The interactive component of the project takes place as the creatures interact with the participants. As they move around, they affect the creaturesâ€™ behaviour in the space as well. In this case, it is the sound of the creature which reflects their behaviour or could also be linked with the state of the space.Â the table of creaturesâ€™s characteristic and their behaviour can be seen in Figure 4.4 and how we classified the creatures based on the sound in the environment can be seen in Figure 4.5

Â Figure 4.4: Defining Four Types of Creatures Characteristic (Harnpinijsak, Tang, Lim, 2019)

Figure 4.5; Defining four types of the sound (Lim, 2019)

4.3.2. Application in different contexts

We created an experience as a system in which the creatures were exhibited in different contexts according to their characteristics and behaviour. However, the same mood and tone of lighting was set to be more imagination with pink and blue colours. Thelighting become an important part to distort the physical space and create the sense of synthetic world in this project.

Context 1: FOLD Nightclub (Semi-public space)Â

The S&SA exhibition is part of Prototypes in Public, which is the first outside exhibition of the Interactive Architecture Lab. S&SA exhibited in the locker room, which is the first room people walked pass. The size of space allowed more than one people, So it has a potential for both Single player and Multiple players

Figure 4.6; Layout Plan of the Overlap Experience between Physical and Virtual Space in FOLD (Harnpinijsak, 2019)

Context 2: Ars Electronica (Public exhibition space)

Ars Electronica is an international festival in the field of new media art.

Figure 4.7; Layout Plan of the Overlap Experience between Physical and Virtual Space in Ars Electronica (Harnpinijsak, 2019)

Figure 4.8; The setting and Lighting Design (Harnpinijsak, 2019)

Figure 4.9; The Interaction in Physical Space (Harnpinijsak, 2019)

Figure 4.10; Creatures's setting (Harnpinijsak, 2019)

Table 4.1: The Audienceâ€™s feedback from Ars Electronica (Harnpinijsak, Tang, Lim, 2019)

As shown above, some people recalled their memory of â€œwalk-in natureâ€, â€œchildhood in the eveningâ€. This is episodic memory that People felt that they could transport to somewhere via their senses. Some of the audiences reported their feeling as â€œrelaxâ€ and â€œa bit scaredâ€, according to Kensinger (2008) said that individuals are likely to remember more emotional events better than non-emotional ones. Moreover, the effect of sensory interaction has been seen from the feedback, â€œwhen opening the cabinet, not sure if the sound is from headphones or physical world.â€ According to the ventriloquism effect, this effect of mislocation could happen when sound and vision did not come from the same direction. One more exciting feedback, some people mentioned about robot since they saw physical creatures in the space and lighting and setting also affect their perception and mood. However, some people told that they did close their eyes during the experience to focus more on listening, similarly, Marx et al.(2003) mentioned in the case study of Dining in the dark. This has shown the effect of visual in different ways.

Figure 4.11; The Comparison between Rain Translator and Sound and Sweet Airs project (Harnpinijsak, 2019)

All in all, according to the design projects, I have learnt that different sensory design approach has a disparate impact on the audience experience. In TranslatorÂ project, we gave only one specific sense, the sound of the rain. It could be seen that only one sense could lead to another, and the audience more focuses on only particular sense given with blindfold. FromÂ Sounds and Sweet AirsÂ project, the audience can see some visual information in the context. Regarding the feedback, it has shown that visual engagement plays a vital role in audience perception, for example, someone said that "digital robot forest, a little bit scared, thinking that the spider will run out". Visual perception evokes an imagination also linked to their previous memory with the spider. Moreover, the sense of scent inÂ Sounds and Sweet AirsÂ at Ars Electronica. Some people notice the smell, but it had no evidence. Secondly, the context affects the way people experience the artwork. Because of the size of space, the location as well as the environment. It could be seen inÂ Sounds and Sweet AirsÂ at Ars Electronica that fewer people allow in the space and with the limited space, people tend to spend less time and less interact with artworks in the exhibition, compared to FOLD. Lastly, interactive technology, according to the feedback, people reported that enjoy communicating with interactive artworks inÂ Sounds and Sweet Airs.Â Regarding the technical problem, both virtual sound and interactive artwork in physical space worked very well at Ars Electronica. However, the virtual sound did not work at FOLD because of the unexpected problem with tracking systems.

Chapter 5: Conclusion

In this paper, I have discussed a sensory experience referencing an immersive artwork and have also studied the theories of multisensory perception, sensory interaction, as well as sensory deprivation. I applied this to my work through a series of explorations and experiments. As the results from my design project show,Â sensory experience is something people can sense and feel, but cannot accurately describe. What I can, however, provide in this paper is an example of how sensory interaction affects perceptual experience through my immersive artworks.

The answers can be seen in my projects, Translator, and, Sounds and Sweet Airs. I interviewed people about their feelings after experiencing either, and all of their answers were perceptual; they elaborate on their sensory experience. People are perceptually transported to a rich environment through their senses. They explained how they sensed the environment by using metaphors such as feeling as if in a rainforest. As we did not discuss what a rainforest actually is, in a sense, none of this is semantic. The perceptual experience of a forest influenced people to experience this feeling. In the first project, Translator, there was little sensory interaction. Some aspects of rain mainly address a specific sensory channel. In my second project, Sounds and Sweet Airs, I provided more senses of the rainforest. I added the scent of forest and designed an environment with some visual information. However, I still did not create the whole rainforest. People felt that they could transport to a forest from their actual environments via their senses. By doing so, people involved in the experience who had had their senses evoked, completed the picture by using top-down processing. With inadequate data, their brains could apply prior knowledge or experiences to construct perception. It was all subjective experience as some people are not familiar with the rain of this kind. They might disagree, but their own personal experiences and their brains find a suitable memory and that is the one that is evoked. Moreover, individual memory has been identified, but it is sensory memory, which is linked to episodic memory. Even when people said "rainforest", it differed from person to person. Everyone has their memories which take them back to remember unique events at a particular time and place.

As I am a designer, I design experience, but people receive from it what they feel themselves. They are complete in their personal lives which makes the experience something perceptual, which is more about feeling and senses, rather than conceptual, which is all about facts and knowledge.

In order to design sensory environments and immersive artwork in an exhibition context, there are some aspects I would like to suggest. Firstly, as in my research, I found that people immerse themselves more in artwork if one vital sense is cut off - visual, in this context - rather than providing direct visual information. This can induce humans to experience through their senses and travel to their own memories. Visual engagement, however, has to be taken into consideration, since what audiences see will also affect their perception. Secondly, apart from visual deprivation and visual engagement, context is a priority factor which should be considered well, especially in an exhibition context. This is because it affects the whole experience as we are multisensory beings. (Charles Melcher, 2016) This was discussed in Chapter 4 on two examples of my work in an exhibition context. The former was semi-public viewing in a commercial place, and the latter, public viewing at an international festival.Â In these two separate situations on different scales, slightly different rules were required. If in public, I cannot control the environment and guide people properly,Â then I have to design for that. I have learnt from my work. Moreover, I would suggest for an exhibition design that private viewing in a dark, silent space in which all lighting and sound can be controlled, is the preferable location for a sensory experience. A suitable atmosphere engages people with an immersive artwork better than a random atmosphere. Lastly, interactive technology can draw people into being part of an artwork as an active player, rather than just being passive. That is obvious in my second project, Sounds and Sweet Airs. I provided tracking technology and made use of many kinds of sensors such as a distance sensor, a temperature sensor as well as an IR sensor to design the sensory experience. Feedback showed that interactive technology is essential to exhibition design and this could expand its boundaries to create a more delightful experience and a sense of wonder when a participant spontaneously finds themselves part of an environment within our immersive interactive artwork.

My next step will be to develop an immersive artwork using slight visual deprivation and observe how vision engages with the other senses. This means the development of an installation design as well as the supervision of light and atmosphere in the space. Moreover, I will carefully choose the context using a dark, silent space so I am able to control light and sound. It could be either private viewing by invitation, or well designed in a public space. Lastly, I will develop the design for an interaction between an audience and an installation by using the theory of sensory interaction and consider the suitable kinds of interactive technology, which match with the design concept. Considering all aspects, I expect to develop my design for an immersive environment and engage audiences into this sensory experience. This could impact their senses in a way which they cannot experience in real daily life.

Even my research question started from an artist's point of view. It also has the potential for further study from a curator's point of view, in order to improve the ways of curating an exhibition to cover this whole field.

Bibliography

Ablart, D. et al., (2017). The how and why behind a multisensory art display. Interactions, pp. 38-43.

Augoyard, J., F. (2005). Sonic experience. s.l.: Quebec: McGill-Queen's University Press.

Beanland, C. (2014).Â Is there a future for the traditional museum?. [online] The Independent. Available at: https://www.independent.co.uk/arts-entertainment/is-there-a-future-for-the-traditional-museum-9855822.html [Accessed 16 Sep. 2019].

Jennifer K. Bizley and Andrew J. King., 2012. What Can Multisensory Processing Tell Us about the Functional Organization of Auditory Cortex?. In: The Neural Bases of Multisensory Processes.. s.l.:CRC Press.

[Accessed: 30, August, 2019].

Chin, A. (2010).Â olafur eliasson: your blind passenger. [online] designboom | architecture & design magazine. Available at: https://www.designboom.com/art/olafur-eliasson-your-blind-passenger/ [Accessed 13 Sep. 2019].

Ciccarelli, S. and White, J. (2018).Â Psychology. Harlow, Essex: Pearson.

Damasio, A. (2000). The Feeling of What Happens. New York: Harcourt Brace & Company, P.35-57.

DÃ©muth, A. (2013). [online] Available at: https://www.academia.edu/30094149/Perception_Theories [Accessed 27 Aug. 2019].

Dorment, R. (2003).Â A terrifying beauty. [online] Telegraph.co.uk. Available at: https://www.telegraph.co.uk/culture/art/3606332/A-terrifying-beauty.html [Accessed 1 Sep. 2019].

Driver J, S. C., (2000). Multisensory perception: beyond modularity and convergence. Current Biology, 10(20), pp. R731-R735.

Ebbinghaus, H. (1885). Memory: A Contribution to Experimental Psychology.Â

Gibson, J. (2015).Â The Ecological Approach to Visual Perception. New York, N.Y.: Psychology Press.

Goleman, D. (1995). Emotional Intelligence. London: Bloomsbury, P3-19.

Levine, L. and Pizarro, D. (2004). EMOTION AND MEMORY RESEARCH: A GRUMPY OVERVIEW. Social Cognition, Volume 22, pp. 530-554.

Lupton, E. and Lipps, A., (2018). The senses. s.l.: New York: Cooper Hewitt, Smithsonian Design Museum.

McLeod, S. (2018).Â Visual Perception | Simply Psychology. [online] Simplypsychology.org. Available at: https://www.simplypsychology.org/perception-theories.html [Accessed 2 Sep. 2019].

Mau, B., 2018. Designing LIVE. In: The Senses. s.l.:Princetin Architectural Press, p. 20.

Merleau-Ponty, M., (1964). The Film and the New Psychology. In: Sense and non-sense. s.l.: Northwestern University Press, pp. 48-59.

NoÃ", A., (2006). Action in Perception. s.l.:A Bradford Book.

Nudds, M., (2014). Is Audio-Visual Perception 'Amodal' or 'Crossmodal'?. In: Perception and Its Modalities. s.l.: Oxford Scholarship.

Pallasmaa, J., (2014). The eyes of the skin. Chichester: Wiley.

Phi, C., 2016. Closer to Human - Interview with Charles Melcher. [Online]Â

Pursey, T. a. L. D., (2018). Tate Sensorium: an experiment in multisensory immersive design. The Senses and Society, pp. 354-366.

Smith, B. (2013).Â The Nature of Sensory Experience: the Case of Taste and Tasting. [online] Available at: https://www.researchgate.net/publication/281900045_The_Nature_of_Sensory_Experience_the_Case_of_Taste_and_Tasting [Accessed 8 Sep. 2019].

Spence, C. and Piqueras-Fiszman, B., 2012. Dining in the dark. [Online]
Available at: https://thepsychologist.bps.org.uk/volume-25/edition-12/dining-dark
[Accessed 21 08 2019].

Stokes, D., Matthen, M. and Biggs, S., 2017. Perception and its modalities.. s.l.:New York: Oxford University Press..

Tokuyama, D., 2017. Supersensors: How the loss of one sense impacts the others. [Online]Â

Wheatley, J.,Â (1973) Putting colour into marketing. Marketing, October, 24-29, 67Â

Zampini et al., (2008). Multisensory flavor perception: Assessing the influence of fruit acids and color cues on the perception of fruit-flavored beverages Food Qual. Prefer., 19 (2008), pp. 335-343.

# data[].attributes.attachment_link.title
An Exploration of Sensory Design: How Sensory Interaction Affects Perceptual Experience in an Immersive Artwork

# data[].attributes.attachment_link.description
"You are a multisensory being. So why is it that so much of our media only play to one or two of those senses? We are engaging more of our body, more of our brain and we are creating a more holistic, more human experience", Charles Melcher (2016).

# data[].attributes.headline
盲人画家通过触觉进行艺术创作

# data[].attributes.body
盲人画家通过触觉进行艺术创作

# data[].attributes.attachment_link.readable_text
时光网戛纳讯 广受好评的导演尼古拉斯·温丁·雷弗恩，在戛纳电影节中颇为重要的"大师班"上与大家见面，在这个单元中，引领现代电影潮流的重要人物会给大家带来一堂大师课，并且给大家讲述自己的职业生涯经历。雷弗恩今年48岁，他的最新作品是《老无所惧》，这是一部背景设定在未来洛杉矶的暴力犯罪惊悚剧。

他在人潮拥挤的布努埃尔剧院里与大家聊了很多话题，包括为什么会选择在电视的流媒体平台上播放这部新作。任何在法国院线上映六个月之内，就会出现在电视上的电影作品，都无法进入戛纳电影节，因此过去两年，Netflix都没有推选任何电影来参加戛纳电影节。但是这次的电影节上，却放映了两集雷弗恩给亚马逊制作的剧集，这位丹麦导演说他希望这一举动标志着，现在争论不休的局面有所突破。

"爆裂鼓手"迈尔斯·特勒

他还提到了他电影里的性与暴力，以及他是如何发现自己有色盲症。并将其转为自己优势的。雷弗恩出生于丹麦哥本哈根，之后在美国长大。他的父亲是导演兼剪辑师安德斯·雷弗恩，母亲是摄影师Vibeke Winding，他与女演员Liv Corfixen结婚了，有两个女儿。他的电影作品包括《末路狂奔》三部曲、《布朗森》、《维京英灵殿》、《亡命驾驶》、《唯神能恕》和《霓虹恶魔》等等。

Mtime：你曾经有过一些非常成功的电影作品，为什么现在会决定去做一部电视剧呢？

雷弗恩：网络发展对我们电影行业有很大影响，我不是个电视剧迷，但我拍《霓虹恶魔》时，当时Netflix开始做原创内容了，很成功，行业里的人都说，"你得进电视圈了，那才是下一块宝地。"我并不是很想做剧，但我对流媒体很感兴趣，Netflix在这方面是领跑者，他们把剧集一下子都给你放出来，你就可以尽情去看了。所以我决定在拍完《霓虹恶魔》之后，要拍一部流媒体电影。

这样我就终于能拍一部没有限制、没有时间规则的作品了，因为时间常常是电影创作的一个束缚。但现在因为数字技术的发展，我们可以通过网络时时刻刻随便看。我的灵感时间是在早上，会看很多Youtube视频，到处点击，我很喜欢那种自由和掌控一切的感觉。于是我就想，'我想拍一部真正的长片，流媒体可以实现，而传统院线不行。'这基本上就是《老无所惧》的创作背景了。

导演在《老无所惧》片场

Mtime：所以你有了更多的创作自由对吗？

雷弗恩：是的，因为在流媒体上，不会有任何行业强行规定的长度限制。投资人也很支持我，任由我去创作，他们以为这是一部十小时的电视剧，但我做的其实是一部13小时的电影。他们说"你得把这东西分开，"于是我把它剪辑成了几段，然后你就看到了两个小时，或者一个小时，或者一个半小时，甚至一分钟的剧集，这样的创作方式就很有意思了。

Mtime：你能说说这部剧的创作过程吗？

雷弗恩：我当时在洛杉矶，每个人都在说，"你得去做电视剧。"然后我就有了一个关于宗教与死亡的想法，然后又想出了这个片名，"老无所惧"，其实有点像个谜语。于是我给艾德·布鲁贝克（该剧的联合编剧）打电话，他是一位文笔优美，创意满分的绘画小说作家，就住在洛杉矶，我问他，"你愿不愿意帮我一起创作这个设定在洛杉矶的，关于宗教与死亡的剧？"他同意了，我们就开始做这部剧了.

我们写了一版试播集的剧本，还准备了各种能吸引到投资的东西。《霓虹恶魔》首映时，亚马逊负责那部电影在美国的发行，他们问了我之后打算做什么，我就把这部剧告诉了他们，他们就答应投资了，这整个项目的基础是我要做一部长电影。在这个过程中，我搬到洛杉矶去做项目筹备，正赶上2016年的选举，我深受美国当时正在发生的事情影响。

我去掉了很多原有的故事，更多地把我对于美国发展变革的感受放进了这部片子里。我们拍摄期间，总统赢得了选举，整个拍摄过程对我们来说也是很艰辛的。我每天晚上都在写剧本，白天还要拍摄，就这样拍了10个月。真的像在电影制片厂一样，最后我都有点疯癫了。但是以一种很有趣的方式疯的。

迈尔斯·特勒与导演在本届戛纳电影节上

Mtime：你请到了著名的摄影师戴瑞斯·康吉，他以前拍过《七宗罪》、《海滩》和《战栗空间》，你是怎么请到他的？

尼古拉斯·温丁·雷弗恩：几年前，我跟戴瑞斯在戛纳的一次午餐中遇到了，那次午餐很成功，因为我们找到了其他话题，而不是尬聊"我喜欢你的作品......"。几个月之后我到了洛杉矶，给他打电话说，"我要在美国拍一部剧，你愿意跟我合作吗？"他说，"好的。"他肯定特别抢手，但最后，10个月的拍摄流程，他在这儿待了足足六七个月，我们之间的关系很好。

因为可卡因是真的，所以就出了问题。但当我拍完"末路"三部曲之后，我就想，"我不要再拍现实了"，因为我永远没法改变真正的现实，所以我开始对非现实和强现实感兴趣了。如果安徒生还在世，他应该还在写童话，我也对童话感兴趣了。

我跟戴瑞斯一起工作的时候总会拿出苹果手机，像两个青少年一样，四处走动，看看哪里适合安放相机，这种创作过程让这部戏有了很多特别的感觉。我不知道你是否清楚，我有严重的色盲，有很多东西我看不出来，而戴瑞斯很善良，愿意改变他的拍摄，好让我能看出来。

《七宗罪》也是摄影师戴瑞斯·康吉的作品

Mtime：但你的电影大多数都颜色鲜丽，红色，蓝色，你是如何应对自己的色盲的？这是什么样的感觉？

当时我跟我第一任女朋友，也就是我后来的妻子Liv一起去逛鞋店。我24岁才第一次有女朋友，我以前有过性生活但没有女朋友（大笑）。顺便说一句，性生活不是靠花钱买的。话说回来，我跟Liv在鞋店，她在试一双鞋，然后又换了另一双，我觉得"你傻了吧，这两双鞋一模一样啊......"然后她就说，"哦，天呐，你看不出颜色，是么？"我说，"不都是黑的吗？"很显然，并不是。

那时候我才得知，我一生中所见到的东西都是没有颜色的。别人总觉得，"哦，天呀，太可怜了......"不是的，这是好事，因为我有自己的色谱。我只能看见很极致的色彩，看不到中间的颜色。所以跟戴瑞斯合作的时候，我会说，"我能看见这个，这个和这个"，他就很尊重我，并且跟我一起投入到创作过程中，所以我们一起把缺陷变成了长处。

雷弗恩、妻子（左）与艾丽·范宁在《霓裳恶魔》的戛纳红毯上

Mtime：性与暴力经常出现在你的电影里，看起来似乎《老无所惧》里也有......

雷弗恩：任何与死亡相关的，都是一种暴力的形式，而宗教又很性感，所以这只是另一种诉说"性与暴力"的方式。我认为从创作的角度来说，性与暴力，这是每个人作品中的两个核心情感。这二者很容易定义，但却是生活的本质，而且对每个人来说都意味着不一样的东西。不过，这也是一种很好的方式去避免谈及我的作品，因为我真的很不喜欢谈论我的作品。我喜欢创作它，但不喜欢谈论它。

雷弗恩：挺好的，他们给了我很大空间。能在戛纳展映《老无所惧》本身就是一个伟大进展，但某种程度上，对戛纳电影节来说也是一个进步，因为流媒体才是未来。昨晚能够展映一部平台剧，其实本质上就是一部13个小时的电影，这就是迈向未来电影发展趋势的一步。不是说你不能做传统的东西，只是你应该拥抱未来。就像看自己孩子一样，你要去适应他们在做的事，而不是把他们拖回旧世界里。

# data[].attributes.attachment_link.title
色盲导演是如何拍出颜色艳丽的电影？

# data[].attributes.attachment_link.description
时光网戛纳讯 广受好评的导演尼古拉斯·温丁·雷弗恩，在戛纳电影节中颇为重要的"大师班"上与大家见面，在这个单元中，引领现代电影潮流的重要人物会给大家带来一堂大师课，并且给大家讲述自己的职业生涯经历。雷弗恩今年48岁，他的最新作品是《老无所惧》，这是一部背景设定在未来洛杉矶的暴力犯罪惊悚剧。 ...

# data[].attributes.attachment_link.title
Blind painter Sargy Mann: Painting with inner vision - BBC News

# data[].attributes.headline
部分感官者缺失可以通过科技辅助来进行对世

# data[].attributes.body
部分感官者缺失可以通过科技辅助来进行对世界的感知

# data[].attributes.attachment_link.readable_text
相信很多人在初中《生物》课本彩图中，对这张色彩斑斓的图片印象深刻：

有的人一眼就认出了图片上的内容，而有的人则一脸问号：这是啥？

这个不是芝麻烧饼，也不是饼干之类的，在大部分人眼中这就是再清晰不过的数字"9"。

当然我们现在都知道了，这都是色盲和色弱在作祟。很多人在体检的时候一般也会经历这一环节。

而关于色盲的成因和原理，相信很多人也都早已清楚这属于一种遗传病，首先来看一则简短的小故事：
18世纪著名英国物理学道尔顿圣诞节前夕给母亲买了一双"棕灰色"的袜子作为礼物，但是母亲在收到礼物后问道尔顿："我这么大年纪了你为啥给我整这一双樱桃红的？你咋想地？"道尔顿说："您瞅清楚了这是棕灰色（shaǐ）的。"然后他拎着这双袜子四处向他人求证，结果除了他和他的哥哥，所有人都说这双袜子是樱桃红色的。
之后道尔顿正视了这一现象并加以研究，写了一篇论文--《论色盲》。于是色盲症就成了有史以来第一个被物理学家确认的遗传病，人们为了纪念他，英语中红色盲症又被称为道尔顿症。（道尔顿：谁干的？）。

道尔顿先生

实际上这则小故事有不少人质疑它的真实性，而比道尔顿更早发现色觉异常现象的其实还大有人在，比如那位被苹果（不是手机）砸过脑袋的--牛顿。

牛顿发现太阳光可以通过三棱镜分解后，公开展示并让许多人来参观，其中就有人表示无法像多数人一样分辩出6种以上的色彩。牛顿将这一重大发现写成论文，于1672年发表在人类第一份科学期刊《自然科学会报》上，在本文中牛顿提到了上述细节，可能算是科学界第一次出现着色觉异常的记载。

这就是牛顿写的那篇世界著名的论文

实际上，色盲这一症状伴随了整个哺乳动物的发展史，浩浩荡荡延续几千万年，至今整个哺乳动物家族仍然几乎全是红绿不分的色盲。而人类很幸运也很特殊，由于进化过程中的变异拥有了高级的三色视觉系统。但实际上人类的三色视觉并不能比较全面的覆盖整个可见光谱，和鸟类、鱼类、爬行类等动物的眼睛相比，某种程度上人类依旧还是个色盲！

人类与皮皮虾的色觉对比，人类要落后很多...

那么在色盲人群中，他们眼中的世界是什么样子的呢？

以下图片做了非常形象的对比演示：

红色盲眼中的鲜花

绿色盲眼中的鲜花

蓝色盲眼中的鲜花

全色盲（achromatopsia）眼中的街道

既然有的颜色看不到，那么色盲人群可能就无法从事一些对视觉系统要求较高的工作吧？比如交通、化学、勘测、飞行员等等... ...

那么，艺术家呢？

换句话说，艺术家的门槛对色盲有要求吗？

如果提出这个问题，某位艺术圈宗师级人物会第一个掀棺材板跳出来不答应。

梵高老师："刚才那个问题谁问的？"

最新的科学研究发现，梵高极有可能患有红色盲。视觉专家Kazunori Asad研发了一个名为"色视觉模拟器"的APP，它可以模拟出特定类型的色盲患者所看到的景象，从而推测梵高可能患有的红色盲。"在这个应用程序下，梵高画作色彩的不协调和粗糙的线条都悄然消失。" Kazunori Asad在Blog中写道，"每张作品的线条和色调都变得异常细腻，这真是奇妙的体验。"

但是这毕竟只是科学研究得出的推测，具体是否真的如此已经无法考证。

那么，我们就来看看当今几位"确诊"的色盲艺术家吧！看看人家的作品与成就，谁说色盲不能当艺术家？
艺术家尼尔．哈比森（Neil Harbisson） 全色盲艺术家，全球首位赛伯格
Neil Harbisson

Neil Harbisson，1982年出生于英国，在西班牙长大。Neil Harbisson出生时就患有完全色盲，他的世界没有色彩，只有黑白两色。

上帝为Neil Harbisson关闭了一扇门，机器视觉为他打开另一扇窗。

在 2003 年的时候，Neil Harbisson开发了一个帮助自己 "看到" 颜色的设备，称其为 eyeborg。这个设备包括一个能够把颜色转换为特殊声音的摄像头，以及声音接收设备。一开始的时候，声音接收设备在身体之外，通过头骨传声到耳朵。现在他已经把接收设备植入到头骨之中，让它能接收更加细微的信号，将震动直接传到耳朵之中。另外，通过 Wi-Fi 和蓝牙的连接，图片可以直接传递给他，无需通过摄像头。

自此，Neil Harbisson彻底改变了自己感知世界的方式，他可以通过听声音来辨别色彩。与此同时，除了艺术家之外他又多了一个身份：一位赛博格（Cyborg，半机械人）。

"我一直听颜色，已经有 8 年了，因此，对于随时听到颜色这件事，我已经完全习以为常了。一开始的时候，我需要记住颜色的名字，但是过了一段时间后，所有这些信息就成为一种知觉了。我不需要再去思考自己做的笔记了。" Neil Harbisson在接受采访时表示。

"自从我听到颜色以来，生活发生了重大的变化，因为颜色无处不在。举例来说，最大的变化是去艺术画廊，我能够听听毕加索。这就像是去了音乐会大厅，因为我能够听到这些画作。"

让我们来欣赏一下Neil Harbisson在eyeborg的帮助下创作的作品：

另外有趣的是，Neil Harbisson认为eyeborg就是他身体的一部分，所以在朋友和支持者的帮助下，Neil Harbisson终于通过了英国护照局的官方许可，允许他在护照首页照片中佩戴这套设备。

Neil Harbisson在某次演讲中自曝护照首页照片
朱莉安*奥培（Julian Opie） "我和老师都是色盲~"
Julian Opie

在很多国际顶级艺术博览会上，经常能在会场看到这样一群行走的人：

他的公共艺术作品遍布世界各地，不用多介绍，他就是英国当代艺术圈最具国际影响力的艺术家之一：朱莉安*奥培（Julian Opie）。
"如果你示意一种颜色，我无法叫出它的名字，但我能清楚地分辨它和其他颜色的差别，哪怕很微小。我对颜色的明暗变化非常敏锐。"
Julian Opie 1958年生于伦敦，他从不将色盲视为天生的"缺陷"，相反，色盲使他更能平静的观察，捕捉现实中无处不在的元素与日常生活中的平凡点滴。

他用最原始的线条和平坦均匀的色块传达人物形象的复杂性，展示包罗万象的构造与姿态。

在接受采访时，Julian Opie表示自己成为迈克尔*克雷格*马丁的学生和助手，原因之一就是两人都是色盲。"这一共同点让我们的关系更紧密。"

我们来欣赏一下Julian Opie创作的作品：

奥培2000年为英国乐队Blur设计的专辑封面，作品被藏于伦敦国立肖像馆
丹尼尔*阿尔轩 （Daniel Arsham） 鬼才艺术家玩转黑白灰，无数潮流大佬哭求合作
Daniel Arsham

丹尼尔*阿尔轩(Daniel Arsham)，1980年出生在迈阿密。高中开始对摄影与建筑感兴趣，之后横跨美国大陆远赴东岸纽约念书，2002 年毕业于艺术学院里的"哈佛"Cooper Union。

他的雕塑作品绝大多数是白色、灰色，擅长在作品中玩转时间和空间的概念

Daniel Arsham天生色弱，虽然并非全色盲，但大部分常人能分辨的颜色在他的眼中仍都呈现相近的色调。

最初Daniel Arsham会隐瞒自己的色弱身份,但之后Daniel Arsham在创作中逐渐意识到，色弱是上天给予自己的天赋，让自己成为最想成为的艺术家，创作出自己最想创造的作品。

Daniel Arsham 在艺术领域涉猎及其广泛，跨越了艺术、建筑、表演之间的界限。他擅长利用空间完成作品，从平面到3D、再到4D，各种层次的空间都有尝试，将建筑、人、空间全部联合，其挑战了人们的空间视角和感知。

同时，Daniel Arsham也会尝试使用多种材质，比如在他著名的《未来遗物》（Future Relic）作品中，他使用火山灰、水晶、石英、炭灰、黑曜石等地质材料，已经生产了近3000件21世纪的"未来遗物"，他先做了一批科技产品和文化生活物品。

Daniel Arsham作品的鲜明个性很快吸引了众多潮流大佬们的目光，纷纷找上门请求合作。

如此看来，视觉障碍并不是成为艺术家的一道阻碍屏障。

相对于辨识颜色的能力，对艺术的理解与表现才是区分艺术家高低的评判标准。

另外插句题外话--以目前的科技发展，市面上早已出现一些量产型的色盲、色弱眼睛，帮助色盲色弱患者看到以前根本无法体会到的色彩。很多人戴上眼镜后看到绚丽美好的世界后，几乎都是同样的表现：热泪盈眶。这样的视频有很多，大家可以网上搜索看。

在文章的最后为大家献上一组图片，大家可以测试一下：如果是眼睛正常的人看到的会是奔跑中的动物，而患有色盲或是色弱的人看上去则是一幅静止的图，因为这种图基本上都是由很多色彩点而组成的，而恰好这些颜色都是色盲色弱很难看到的。（作者：兰红超，图片来源于网络）

# data[].attributes.attachment_link.description
相信很多人在初中《生物》课本彩图中，对这张色彩斑斓的图片印象深刻： 有的人一眼就认出了图片上的内容，而有的人则一脸问号：这是啥？ 这个不是芝麻烧饼，也不是饼干之类的，在大部分人眼中这就是再清晰不过的数字"9"。 当然我们现在都知道了，这都是色盲和色弱在作祟。很多人在体检的时候一般也会经历这一环节。 而关于色盲的成因和原理，相信很多人也都早已清楚这属于一种遗传病，首先来看一则简短的小故事： ...

# data[].attributes.body
彩色对于阿尔轩来说，不过是可供他选择、能拓宽他创作思路的一种方式而已。在阿尔轩看来，视觉的限制让他得以看到一些拥有全彩视觉的人会忽视的东西。他认为，当下的色彩是过度饱和的，而自己的单色也是对饱和世界的抵抗。

# data[].attributes.attachment_link.readable_text
原标题："太阳是白的"，看这位美国色盲艺术家眼中的"黑白灰"

对正常人来说，识别红色，绿色，蓝色等颜色毫不费劲，但对色盲患者而言，则完全不同。

美国艺术家丹尼尔·阿尔轩(Daniel Arsham)就是一位色盲艺术家。他患有绿色盲，是对灰调、黄/橙调和蓝调光谱限制接收的红绿色盲的一种。这种缺陷，使他创作出了独特的、标志性的单色风格艺术，并且他与色彩间关系的故事是多面而有趣的。

6月28日，艺术家丹尼尔 · 阿尔轩个展"现在在现"在上海昊美术馆开幕。 展览将呈现艺术家的代表作及最新作品，延续他对色彩的呈现，也展现了其对建筑和人体关系的探索, 讨论了历史与时间的非线性叙事可能。

--太阳是什么颜色的？

--黄色。

--我认为是白色的。

--引自丹尼尔·阿尔轩纪录片《全彩》

艺术家丹尼尔·阿尔轩

丹尼尔·阿尔轩成长于迈阿密。由于他从小被确诊为色盲的，因此这也限制了他对灰调、黄/橙调和蓝调光谱的接受能力。色彩的丰富性在他的眼里遭受了极大程度的压缩，但这反而将他的注意力引向了白色、灰色和黑色。阿尔轩对材料的关注度和敏感度，大大增强了他作品的感染力，回归朴素的状态后，他借形态之间的微妙变化在观众心里掀起了难以名状的情绪：它们可以轻盈得像被风吹过后的面料，可以像打破平静墙面的水滴一般不可思议，也可以厚重得如刚出土的文物，打乱时间行走的轨迹。

《未来已写就》

然而，他的作品并不都与色彩的缺失有关，也与他所使用的材料有关。雕像是白色的，因为它们是由压碎的玻璃与晶体制成的；遗物是黑色的，因为它们是由火山灰铸造的；腐蚀的建筑表面是白色的，因为墙面是白色的。如艺术家所说，"我认为材料中存在的色彩是真实的，"对于阿尔轩，材料与艺术形式一样重要。

1992年，飓风安德鲁袭卷了他的家乡迈阿密。面对墙壁坍塌、窗门破碎的场景，他蜷缩在壁橱里，内心受到了巨大的惊吓。那也是他第一次，看到墙壁断裂、错位后露出的内芯，平时看来似乎是坚不可摧的水泥、石灰碎裂成渣。相应地，他对材料的硬软质地开始存疑。

硬质的石膏完全可以被做出柔软、轻盈如风的态势。那些生于墙面或者呈直立状的雕塑远远地看上去也像精细的素描作品，白色的石膏与光线可以构成流动的空间语言。他对这种材料颇有好感，因为易碎也意味着具有极强的可塑性。进入展厅的两件作品《开凿之墙》和《蝴蝶结》便是提现了这一"刚柔"的特性。

《开凿之墙》

《蝴蝶结》

此次展览题目" 现在在现" 直接指向" 时间"，策展方也将展览空间转换为一个模糊了当下与未来、 现实与想象边界的时刻。

在展览现场，作品《挖掘现场212》无疑是最受瞩目的。《挖掘现场212》是艺术家创造的完整的考古现场，观众可以看到"考古学家"在地面上的坑洞中工作，而他们发觉的物品正是来自我们今天所熟悉的日常物品，电话、收音机、吉他、篮球......艺术家希望通过完整表演考古过程，强化观众的感官体验。在他看来，表演作品呈现的正是一个现场性。

《挖掘现场212》

《挖掘现场212》考古表演

同时，这件作品显示了一种对于时间的困惑：你可能会看到石英水晶制成的篮球，看起来像是经过了千年。阿尔轩表示，这件作品的灵感来源自多年之前曾去过庞贝古城遗址，火山灰、消失的城市让他浮想联翩，也促使他萌生了另一种看待时间的方式。他试图站在未来，反观生活于现在的我们。

对于材料、物件、时间与作品之间存在的联系，阿尔轩认为，"我并不是在收音机或照相机上涂抹颜料，让它们看起来很旧；而是用能够传达时间的地质材料重新制作物件。火山灰、石英、黑曜石、黄铁矿、冰川岩尘：所有这些材料都蕴含着时间概念。"这样的思路也延伸到了他的其他作品中，比如那些皮肤磨损并遭到侵蚀的人体手臂和头部等。"而与之相对的，展厅中巨大的用青铜制成的卡通雕塑也是也是坑坑洼洼的，意在以未来眼光看现在的形象。

展览现场，青铜卡通雕塑

此外，阿尔轩仔接受记者采访时也表达了其作品受到日本禅宗的影像。他在2017年创作了两件全新的作品，是以传统日式茶园为原型进行的重新构建：禅意花园(Zen Garden)和月光花园(Lunar Garden)。

《Blue Gradient Zen Garden》，2017

阿尔轩告诉澎湃新闻记者，历史上很好的设计就是把自然和人文的建筑很好的结合在一起了。由于阿尔轩的太太是日本人，所以他在日本待了很长时间，去过很多中国与日本的园林。"你会觉得这个园林看起来似乎没有变化，你会觉得它的土地、整个园林的结构是不休的，没有变化。但事实上这些园林每天会改变的，可能很多人会把这些枯叶扫走。所以对我来说暂时性和永恒性，建筑和毁灭，也反映在我的作品当中对于时间的概念。"

谈及自己的艺术起源时，阿尔轩表示，他的祖父是一个业余的摄影爱好者。12岁时，祖父给了自己一台相机，拍了很多建筑，"在我入职之前，我一直以为我会从事建筑业。由于学习后发现建筑所需要的精确并不适合，所以转行做艺术了。"

尼尔·阿尔轩于贝浩登（香港）个展"Fictional Archeology" 现场

2015年，丹尼尔·阿尔轩收到了由EnChroma制造的色盲太阳镜，它使用的光学滤光片能够过滤掉患者所见的光谱中重叠的部分，从而提高使用者分辨色彩的能力。戴上这副眼镜的阿尔轩能够清楚地看见并感受到树的绿、花的红和天的蓝，而他的作品里也逐渐活跃起明艳的色彩：粉色、蓝色、紫色，它们像从冬去春来萌出土地的植物一般，透着想要一次享尽阳光般的渴望。

但到头来，他还是选择了在创作时不戴这副眼镜，并将这种工作习惯保留至今。彩色对于阿尔轩来说，不过是可供他选择、能拓宽他创作思路的一种方式而已。在阿尔轩看来，视觉的限制让他得以看到一些拥有全彩视觉的人会忽视的东西。他认为，当下的色彩是过度饱和的，而自己的单色也是对饱和世界的抵抗。

此次展览将展至10月24日。

（图片来源于澎湃新闻及网络）

责任编辑：

# data[].attributes.attachment_link.title
色盲艺术家，眼中的"色彩"，心中的"色彩"_丹尼尔·阿尔

# data[].attributes.attachment_link.description
原标题："太阳是白的"，看这位美国色盲艺术家眼中的"黑白灰" 对正常人来说，识别红色，绿色，蓝色等颜色毫不费劲，但对色盲患者而言，则完全不同。 美国艺术家丹尼尔·阿尔轩(Daniel Arsham)就是一位色盲艺术家。他患有绿色盲，是对灰调、黄/橙调和蓝调光谱限制接收的红绿色盲的一种。这种缺陷，使他创作出了独特的、标志性的单色风格艺术，并且他与色彩间关系的故事是多面而有趣的。 ...

# data[].attributes.body
blind artidts

# data[].attributes.attachment_link.readable_text
Numerous blind artists have painted visual masterpieces which defy their lack of sight.

Here are ten blind painters who have made significant contributions to the world of visual arts.

Towards Beinn Toaig, Winter

Keith Salmon is a British man who enjoyed art from an early age. He studied fine arts in college and worked as a painter and sculptor after graduation.

After a diagnosis of diabetic retinopathy left him legally blind, he dedicated himself even more fully to his art. He is best known for abstract landscape art, mostly of hills in Scotland that he enjoyed climbing, even after becoming legally blind.

Salman's paintings feature abstract bursts of color and detailed brushwork. He credits his blindness with making him a more determined and talented painter.

John Bramblitt is a native of El Paso, Texas. He became blind at the age of thirty due to severe epileptic seizures.

He became a painter not in spite of his blindness, but rather because of it; painting helped him overcome a bout of severe depression.

Bramblatt learned to discern the difference in colors by feeling the rich tactile details of their textures.

Bramblatt's paintings are brightly colored; he paints a wide variety of subjects, including people, butterflies, and wine bottles. His art is sold in more than thirty countries, and he has authored two books about his emergence as a blind artist.

A native of Turkey, Armagan was born blind. As a child, he taught himself to write and paint, using braille to create an outline for his drawings.

He became especially fond of using oil paints as a medium, and he has painted. Eserf's paintings, many of which feature breathtaking landscapes, His work has been featured in more than twenty exhibitions across the world.

Sargy Mann, a Birtish painter, lost his vision in his thirties due to cataracts in both eyes.

Prior to become legally blind, he considered himself to be a landscape painter. After losing his sight, he became skilled at portraits.

He particularly liked to paint his wife, who he said he could "see" through touch. In addition to landscapes and portraits, he is the creator of a number of mysterious, abstract paintings in vivid color.

Michael WIlliams, a native of Nashville, TN, suffers from a form of macular degeneration called Stargart's disease.

He began painting as a child and did not let his loss of vision deter his dreams, stating that for artists, insight are far more important than sight.

Williams has won numerous awards for his contribution as a visually impaired artist; including a congratulatory letter from Barrack Obama. Williams' paintings have been featured in several exhibitions, both in the U.S. and in London.

Jeff Hanson, a young American artist based in Kansas, is on a mission to create positive impact on the world through art.

He became visually impaired during childhood due to a brain tumor. His love for painting began during his chemotherapy treatment and has continued to flourish until today.

Hanson specializes in acrylic on canvas and enjoys painting bright geometric shapes. His paintings are sold at charity functions throughout the country.

Arthur Ellis has been dubbed "the artist who lost his sight but not his vision." A native of Southborough, Ellis is a lifelong artist who worked professionally in the print finishing industry.

In 2006, he was diagnosed with bacterial meningitis and became legally blind as a result. Ellis's artistic style has changed significantly since losing his sight; these days, his artwork is abstract and focuses on the merging of colors and shapes. Ellis is a strong advocate of braille.

(Video Credit: Dr. Catalin Brylla)

Hopewood-Jackson was born in the U.K. and lost his sight due to optic atrophy. He became blind in his left eye as a teenager and his right eye around the time he turned thirty. Despite losing his vision, he has continued to paint, write short stories,and advocate for disability awareness. His most famous paintings are inspired by the moon: Moon's Tune and Spirit of the Moonbather. Jackson was featured in a documentary film titled Painting Without Sight.

Hal Lasko, dubbed "The Pixel Painter," is famous for the visual masterpieces he has created using Microsoft Paint.

Lasko began losing his sight in 2005, due to macular degeneration. Microsoft Paint allowed magnification, and he was able to paint his virtual masterpieces pixel by pixel. He was featured in a documentary, The Pixel Painter.

No list of famous painters would be complete without the inclusion of Claude Monet, a French painter best known for leading the artistic movement of Impressionism, which focuses on the shifting effects of light and color.

When Monet was in his sixties, he began to experience visual changes, particularly in regard to his perception of color. Despite this, he continued painting.

At age 72, he was diagnosed with nuclear cataracts in both eyes. Some of Monet's most famous paintings include Poppies and Woman With a Parasol.

# data[].attributes.attachment_link.title
10 Incredible Blind Painters﻿ - Everyday Sight

# data[].attributes.attachment_link.description
Numerous blind artists have painted visual masterpieces which defy their lack of sight. Here are ten blind painters who have made significant contributions to the world of visual arts. 1.Keith Salmon (1959-present) Keith Salmon is a British man who enjoyed art from an early age.

# data[].attributes.body
✨ Not all countries and programmes have the financial or laboratory resources to analyse serum vitamin
A, to conduct elaborate retinol dose response measures, and to measure biochemical indicators of inflammation, poor protein status and/or other nutrients that affect serum vitamin A concentration.
✨the tests can exceed US$40 000 and the other costs for consumables and training of staff also
make this test expensive and not suitable for large-scale community assessment

# data[].attributes.body
The latest report from the World Health Organization (WHO) estimates that the global prevalence of gestational night blindness (GXN) in populations at risk of VAD at 7.8% (9.75 million pregnant women), and prevalence rates ≥ 5% are considered of public health concern [3].

# data[].attributes.headline
光线不足的时候我几乎看不清东西，只能看到

# data[].attributes.body
光线不足的时候我几乎看不清东西，只能看到模糊的剪影

# data[].attributes.headline
Chinese high school students have the longest study hours compared to their peers in Japan, the US and the Republic of Korea, a survey conducted by the four countries said.About 78.3 percent of Chinese students said they spend more than eight hours at school and 56.7 percent said they study at least two more hours each day at home.

# data[].attributes.subject
Chinese high school students have the longest study hours compared to their peers in Japan, the US and the Republic of Korea, a survey conducted by the four countries said.About 78.3 percent of Chinese students said they spend more than eight hours at school and 56.7 percent said they study at least two more hours each day at home.

# data[].attributes.attachment_link.readable_text
Chinese high school students have the longest study hours compared to their peers in Japan, the US and the Republic of Korea, a survey conducted by the four countries said.

The survey, released by the China Youth and Children Research Center (CYCRC) on Monday, was jointly conducted with institutions in the four countries in September-October of 2008. It covers nearly 4,000 students in senior high schools and vocational high schools in the four countries.

Chinese high school students have the longest study hours compared to their peers in Japan, the US and the Republic of Korea, a survey conducted by the four countries said. [File photo from www.cnuschool.org]

About 78.3 percent of Chinese students said they spend more than eight hours at school and 56.7 percent said they study at least two more hours each day at home.

By contrast, only 24.7 percent of their peers in the US, 20.5 percent in Japan and 15.4 percent in Korea study more than two hours after school.

Around 60 percent of all students surveyed said their burden for studies were the heaviest, however, the Japanese felt their burden was the worst with respondents reaching 79.2 percent.

Among the five biggest headaches for young people in the four countries were: over-scheduling ranked first, followed by a monotonous leisure life, unsatisfied appearance, little time for exercise and making friends, and no spare money.

"Moderate study pressure can better drive students to develop, however, too much will squeeze their development space, and can even cause harm to their physical and psychological health," the survey said.

"Balancing their studies and all-round development is a very important task," it said.

# data[].attributes.attachment_link.title
Survey: Chinese high school students study more -- china.org.cn

# data[].attributes.attachment_link.description
Chinese high school students have the longest study hours compared to their peers in Japan, the US and the Republic of Korea, a survey conducted by the four countries said. The survey, released by the China Youth and Children Research Center (CYCRC) on Monday, was jointly conducted with institutions in the four countries in September-October of 2008.

# data[].attributes.body
Senior high school students studying at night to prepare for the college entrance exams at a high school in Lianyungang, east China's Jiangsu province. (Getty Image)

# data[].attributes.headline
中国的学生在上大学之前面临很重的学习压力，尤其在高中时候。我们经常在晚上回到宿舍之后还要写作业，但是学校十点半就熄灯，我们每人就会买一个充电台灯用来照明

# data[].attributes.subject
中国的学生在上大学之前面临很重的学习压力，尤其在高中时候。我们经常在晚上回到宿舍之后还要写作业，但是学校十点半就熄灯，我们每人就会买一个充电台灯用来照明

# data[].attributes.attachment_link.keywords[]
Boats and boating--Equipment and supplies

# data[].attributes.headline
在我的成长过程中，我和家人对于视力改善的

# data[].attributes.body
在我的成长过程中，我和家人对于视力改善的治疗都没有十分重视，是因为视力较差对于中国学生来说是很普遍的事情，因此除了变得更加讨厌吃萝卜，我的视力问题没有得到明显改善

# data[].attributes.attachment_link.readable_text
A student checks the eyesight in Donglin primary school in Donglin Township of Huzhou City, east China's Zhejiang Province, Sept. 4, 2018. Classes are being taken to popularize the knowledge of protecting eyes as China aims at curbing the rise in nearsightedness-or myopia-among children and teenagers. (Xinhua/Xu Yu)

The incidence rate of poor vision among Chinese students has risen from 59.2 percent to 70.6 percent in the past six months, according to a survey conducted in August by the Ministry of Education. Among them, the poor vision rate of high school students was 89.3 percent.

Nearly half of the 1.4 billion people around the world who are nearsighted are in China, according to the World Health Organization. Without effective intervention, it is estimated that by 2020, the number of short-sighted people in China will exceed 700 million, and the number of people with high myopia will be between 40 million and 51.5 million.

The National Health Commission (NHC) of China issued a notice Thursday, confirming that the first batch of appropriate technologies for preventing and controlling myopia among children and adolescents will be piloted in 182 districts and counties across the country, including Beijing, Tianjin, Shanghai municipalities and Hebei Province.

"What really makes children short-sighted is not the type of subject, but the system of education and electronic devices," said a netizen on Sina Weibo after the notice was introduced. The comment has received 1,171 likes by press time.

"In a few years, occupations related to precise instruments, pilots, and navigation will find the situation more challenging due to insufficient qualified candidates," another commenter said.

A city in North China's Shanxi Province set eyesight and weight as part of middle school students' graduation tests results in October as part of the city's educational reform efforts.

Local education authorities then explained that the move was aimed at encouraging teenagers to get more exercise and protect their vision.

The NHC later released a list of priorities for the prevention and control of myopia among children and adolescents, including standardizing the diagnosis and treatment of ametropia in children and adolescents, strengthening supervision and inspection of myopia among children and adolescents and ensuring eye care and visual examination for children aged 0 to six years.

Experts suggest that it is essential for people get their eyesight tested every six months to detect problems early in order to control the duration of eye use, especially sustained eye use.

Moreover, blue light from mobile phones and tablets is harmful to children. When spending too much time on phones or iPads, the eye muscles will not contract for a long time, which can cause double damage to children's eyes and lead to irreversible harm.

A mother, surnamed Guo, told the Global Times that problems such as heavy study loads and little time for extra-curricular activities have resulted in her 5-year-old child suffering myopia of 100 degrees, and the situation became more severe during the epidemic when her child had to take online classes.

# data[].attributes.attachment_link.title
Nearly 90 percent of Chinese high school students have poor eyesight: Ministry of Education

# data[].attributes.attachment_link.description
The incidence rate of poor vision among Chinese students has risen from 59.2 percent to 70.6 percent in the past six months, according to a survey conducted in August by the Ministry of Education. Among them, the poor vision rate of high school students was 89.3 percent.

# data[].attributes.attachment_link.description
本吧热帖: 1-请加我vx：zdyu2018，邀请您加入夜盲症主题群，大家一 2-智元法律-最高院知识产权新规实务：重难点问题与法律风险防范一 3-请教大家一个问题。 4-我晚上能看见星星，是夜盲症吗 5-晚上看不清东西，不知道是近视带的还是夜盲，大家都是啥症状啊 6-90年夜盲症，先天性，喜欢车，开了八年车了，18万公里，无任 7-先天性夜盲算不算残疾？

# data[].attributes.attachment_link.readable_text
Nyctalopia (Night Blindness)

Effect of night-blindness. Left: normal night vision. Right: night-blind.

Specialty

Ophthalmology

Nyctalopia ( from Greek νύκτ- (nykt-) 'night', ἀλαός (alaos) 'blind, not seeing', and ὄψ (ops) 'eye'), also called night-blindness, is a condition making it difficult or impossible to see in relatively low light. It is a symptom of several eye diseases. Night blindness may exist from birth, or be caused by injury or malnutrition (for example, vitamin A deficiency). It can be described as insufficient adaptation to darkness.

The most common cause of nyctalopia is retinitis pigmentosa, a disorder in which the rod cells in the retina gradually lose their ability to respond to the light. Patients suffering from this genetic condition have progressive nyctalopia and eventually, their daytime vision may also be affected. In X-linked congenital stationary night blindness, from birth the rods either do not work at all, or work very little, but the condition doesn't get worse. Another cause of night blindness is a deficiency of retinol, or vitamin A, found in fish oils, liver and dairy products.

The opposite problem, the inability to see in bright light, is known as hemeralopia and is much rarer.

Since the outer area of the retina is made up of more rods than cones, loss of peripheral vision often results in night blindness. Individuals suffering from night blindness not only see poorly at night but also require extra time for their eyes to adjust from brightly lit areas to dim ones. Contrast vision may also be greatly reduced.

Rods contain a receptor-protein called rhodopsin. When light falls on rhodopsin, it undergoes a series of conformational changes ultimately generating electrical signals which are carried to the brain via the optic nerve. In the absence of light, rhodopsin is regenerated. The body synthesizes rhodopsin from vitamin A, which is why a deficiency in vitamin A causes poor night vision.

Refractive "vision correction" surgery (especially PRK with the complication of "haze") may rarely cause a reduction in best night-time acuity due to the impairment of contrast sensitivity function (CSF) which is induced by intraocular light-scatter resulting from surgical intervention in the natural structural integrity of the cornea.

Aulus Cornelius Celsus, writing ca. 30 AD, described night blindness and recommended an effective dietary supplement, liver being a good source of vitamin A: "There is besides a weakness of the eyes, owing to which people see well enough indeed in the daytime but not at all at night; in women whose menstruation is regular this does not happen. But success sufferers should anoint their eyeballs with the stuff dripping from a liver whilst roasting, preferably of a he-goat, or failing that of a she-goat; and as well they should eat some of the liver itself."

Historically, nyctalopia, also known as moonblink, was a temporary night blindness believed to be caused by sleeping in moonlight in the tropics.

In the French language, nyctalopie and héméralopie have inverse meanings, the first naming the ability to see in the dark as well as in plain light, and the second the inability to do so. It is thought that this inversion from Latin happened during the 2nd century AD, even though the ancient greek νυκτάλωψ ( nuktálōps) has been used in both senses.

Night blindness, sometimes referred to as gravel, was occasionally documented during the American Civil War, particularly within the Confederate States of America. Like rheumatism, night blindness was viewed as a condition that could be easily faked or exaggerated, and initially, sufferers were regarded with some suspicion. Some soldiers who reported symptoms of nyctalopia also presented with symptoms of scurvy, suggesting a fundamental cause of poor nutrition.

Congenital stationary night blindness is also an ophthalmologic disorder in horses with leopard spotting patterns, such as the Appaloosa. It is present at birth (congenital), not sex-linked, non-progressive and affects the animal's vision in conditions of low lighting. Congenital stationary night blindness (CSNB) is usually diagnosed based on the owner's observations, but some horses have visibly abnormal eyes: poorly aligned eyes (dorsomedial strabismus) or involuntary eye movement (nystagmus). In horses, CSNB has been linked with the leopard complex color pattern since the 1970s. A 2008 study theorizes that both CSNB and leopard complex spotting patterns are linked to the TRPM1 gene. The region on horse chromosome 1 to which the Lp gene has now been localized also encodes a protein that channels calcium ions, a key factor in the transmission of nerve impulses. This protein, found in the retina and the skin, exists in fractional percentages of the normal levels found in homozygous Lp/Lp horses and so compromises the basic chemical reaction for nerve impulse transmission.

1. ^ Quesnel, NM; Lovasik, JV; Ferremi, C; Boileau, M; Ieraci, C (Jun 2004). "Laser in situ keratomileusis for myopia and the contrast sensitivity function". Journal of Cataract and Refractive Surgery. 30 (6): 1209-18. doi:10.1016/j.jcrs.2003.11.040. PMID 15177594.

2. ^ The Sailor's Word-Book, Admiral W.H. Smyth, p. 483; Conway Maritime Press, UK, 1991. ISBN 0-85177-972-7

3. Dimitrios Brouzas ^ et al., Nyctalopia in antiquity: a review of the ancient Greek, Latin, and Byzantine literature., Ophthalmology, 108(10):1917-21, 2001.

4. ^ Wiley, Bell Irvin (2008) [First published 1948]. The Life of Johnny Reb: The Common Soldier of the Confederacy (Updated ed.). Louisiana State University Press. p. 255. ISBN 978-0-8071-3325-5.

5. Bellone, Rebecca R; Brooks SA; Sandmeyer L; Murphy BA; Forsyth G; Archer S; Bailey E; Grahn B (August 2008). "Differential Gene Expression of TRPM1, the Potential Cause of Congenital Stationary Night Blindness and Coat Spotting Patterns (LP) in the Appaloosa Horse (Equus caballus)". Genetics. Genetics Society of America. 179 (4): 1861-1870. doi:10.1534/genetics.108.088807. PMC . PMID 18660533.

6. Witzel CA, Joyce JR, Smith EL. ^ Electroretinography of congenital night blindness in an Appaloosa filly. Journal of Equine Medicine and Surgery 1977; 1: 226-229.

# data[].attributes.attachment_link.description
Nyctalopia (Night Blindness) Effect of night-blindness. Left: normal night vision. Right: night-blind. Specialty Ophthalmology Nyctalopia ( from Greek νύκτ- (nykt-) 'night', ἀλαός (alaos) 'blind, not seeing', and ὄψ (ops) 'eye'), also called night-blindness, is a condition making it difficult or impossible to see in relatively low light.

# data[].attributes.headline
A news about the eyesight of Chinese student

# data[].attributes.subject
A news about the eyesight of Chinese student

# data[].attributes.body
Eat foods that have Vitamin A. Some suggestions include:

Carrots.

Cantaloupes.

Butternut squash.

Spinach.

Milk.

Eggs.

# data[].attributes.attachment_link.readable_text
How is night blindness treated?

Treatment for your night blindness depends on the cause. Treatment may be as simple as getting yourself a new eyeglass prescription or switching glaucoma medications, or it may require surgery if the night blindness is caused by cataracts.

If you have a retinal disease, the treatment will depend on the type of the disease and will require additional investigation by a retina specialist.

What can I do to treat night blindness at home?

Night blindness cannot be treated at home. Medical advice is necessary so that the appropriate treatment, if any, is given.

How can night blindness be prevented?

You can't prevent genetic predispositions, but you can control your lifestyle. Try the following to possibly prevent night blindness:

Eat foods that have Vitamin A. Some suggestions include:

Get regular eye exams. See an eye specialist consistently so that they can figure out early if you have problems with your eyes.

Wear sunglasses. Sunglasses protect your eyes from the sun. UV rays increase your risk of cataracts, macular degeneration and glaucoma. Make sure that your sunglasses do the following:

Block out at least 99% of UVA and UVB rays.

Protect your eyes from every angle.

Filter 75% to 90% of visible blue light.

Exercise. Exercise may reduce your risk of eye conditions. It may lower eye pressure and blood glucose levels.

Last reviewed by a Cleveland Clinic medical professional on 12/01/2020.

References

Cleveland Clinic is a non-profit academic medical center. Advertising on our site helps support our mission. We do not endorse non-Cleveland Clinic products or services. Policy

# data[].attributes.attachment_link.title
Night Blindness (Nyctalopia) Care and Treatment | Cleveland Clinic

# data[].attributes.attachment_link.description
Treatment for your night blindness depends on the cause. Treatment may be as simple as getting yourself a new eyeglass prescription or switching glaucoma medications, or it may require surgery if the night blindness is caused by cataracts.

# data[].attributes.body
=》在黄昏之后我很少出门，我会尽量呆在有光源的家里。
=》到空旷阴暗的地方会害怕（比如地下室）总会想象我看不到的地方有什么可怕的东西——黑暗里有我想象中的一个恐怖世界
=》夜间不能开车
=》吃了很多我并不喜欢吃的胡萝卜
=》经常磕碰（夜灯照明）
=》个别艺术展/电影会失去价值

# data[].attributes.body
=》想象力会变得丰富
=》会感受到来自朋友的更多的关心和爱

# data[].attributes.body
在我高中时期的某一天晚上，我和我的朋友一起在操场上边走边聊天。当时已经晚上十点，操场的灯都灭了，我们聊的很愉快，我正在滔滔不绝的时候，她突然打断了我：”你要走到哪去。“
我不明白她的意思，但是还是停下了，她说：”你前面已经是灌木丛了，我看你还没有停下的意思“ 我伸手摸了一下，竟然真的摸到了操场变围植的灌木丛，但是我完全看不到。从那之后，之前对我来说习以为常的黑暗环境中，我都会下意识地问周围的其他人：你们能看见前面有什么吗
当经常性得到肯定的答案之后，我渐渐确定自己患有轻微的夜盲症。如果没有交流，我可能永远以为我看到的黑暗中真的不存在任何东西。