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The next steps involve refining the sensory elements and testing the installation with a small audience to gather feedback. This iterative process will help us fine-tune the sensory inputs and ensure that the installation achieves the desired overwhelming effect. I will also explore the potential for incorporating elements of sensory deprivation, inspired by the research of Kjellgren et al. (2008), to create moments of contrast and heighten the overall impact of the installation.

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The research phase has been great, providing a solid theoretical foundation for the project. The concept of sensory deprivation and its overwhelming effects has been particularly insightful. Studies by Lilly (1977) and Merabet and Pascual-Leone (2010) have shown that the absence of external stimuli can lead to vivid hallucinations and altered states of consciousness. This phenomenon underscores the brain's relentless drive to make sense of its environment, even in the absence of sensory input. The implications for our installation are profound, suggesting that carefully controlled sensory deprivation or overload can create deeply immersive and transformative experiences.

I've been exploring the use of RGB synchronisers in creating synchronised visual and sonic experiences. The research by Hinterberger (2011) on the Sensorium and its use of multimodal neurofeedback environments has provided valuable insights into how synchronized sensory inputs can enhance the overall impact of an installation. By aligning visual stimuli with corresponding auditory cues, we can create a more immersive and overwhelming experience that resonates deeply with the audience.

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As I delve deeper into the process of curating an overwhelming sensory installation, I find myself increasingly fascinated by the interplay of sensory modalities and their potential to create profound experiences. One of the most intriguing aspects has been learning/experimenting with TouchDesigner, a visual programming language for real-time interactive multimedia content. This tool has opened up new possibilities for integrating visual and sonic elements in ways that can truly overwhelm and captivate the audience.

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In an attempt to further the idea of claustrophobia, I have decided to trial other tech available to me. Utilising a smaller space may further my intentions, I want to trial different acoustic environments/ rooms with different surfaces.

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Lately I’ve spent time familiarising myself with Pharos. As it was a completely new program to me, watching video tutorial has really helped. I’ve made progress with the timeline function and understanding hoe different effects will i apart the lights.

I’ve also thought more about sound, in terms of how it could assist in curating a claustrophobic environment. After doing some research, I’ve found studied that support the the theory that when a subject hears ‘heartbeat like’ sounds, they often mimic the a similar rhythm within their own body.

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Academic:

Researched the meaning of the words Visceral and Overwhelming. I thought of these words with negative connotations, when in actuality they do not have to refer to negative emotions.

I found that the key differences between the two was; Nature of the Experience and Intensity.

The nature of a visceral experience is related to am instinctual experience that is deeply personal and often physical (e.g falling to ones knees). Whereas the feeling of being overwhelmed describes the magnitude of something and the part that plays in ones emotions.

Where visceral emphases a primal quality of emotion, overwhelm highlights the magnitude of an emotion and often the difficulty one has processing it.

Through this research I have realised that overwhelm may be more achievable through sonic and light elements.

Creative Practice:

I aim to try and create a sense of overwhelm. After being in The Capitol space and seeing others projects, I think it would be interesting to experiment with a lack of colour. I felt as though the almost floor colours drew away from the experience of some of the works and hat they might have conveyed if one was not distracted ted by the colour.

I wonder if there would be a greater focus on the way that sonic elements interact with movement in the lighting, if colour was taken away.

Technical:

Started by looking into Pharos as a program and downloading it along with the capitol template. After playing around with it for a while, I needed further guidance. I found the Pharos tutorials on Youtube and watched #1-9 and utilised this to familiarise myself.

After looking into

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During the first class I was surprised by the amount of freedom this project allows. I welcome this as I find it really exciting to explore my own creative practice.

When reflecting on the adjectives, there were two the struck me, visceral and overwhelming. I believe that these would be really fun to explore through sonic and visual elements.

When visiting The Capitol, the sheer space really struck me. I think that it would be awesome to juxtapose this space with a feeling of claustrophobia and in turn evoke a visceral reaction or sense of overwhelm.

Contrary to this, I wonder if this will be achievable in such an open space. If it was to be achieved I believe sonic elements will play an enormous part in this. I intend to explore using The Capitol to show the final piece. However I believe a smaller space would also be effective in conveying the same heightened effect.