This MA thesis explores the relationship between human experience, the interface theory of perception, and consciousness through the artistic project Listening Space. The project, conducted by...Show moreThis MA thesis explores the relationship between human experience, the interface theory of perception, and consciousness through the artistic project Listening Space. The project, conducted by Afroditi Psarra and Audrey Briot, involves intercepting and decoding NOAA weather satellite audiovisual transmissions using a DIY satellite tracking station and a weaving machine. This research employs a multidisciplinary approach, drawing from art history, neuroscience, philosophy, and physics, to investigate two dimensions of the human experience: the physical and the metaphysical. The first chapter focuses on the human physical experience, utilizing the reversed engineered methodology of Erwin Panofsky and iconographic analysis to explore the symbolic values and meaning of artworks. It examines the ecologies of Listening Space, such as human-centered computing, interface design prototyping, environmental sciences, information visualization, binaries, and weaving, in relation to Donald Hoffman's interface theory of perception. This chapter tests the extent to which Listening Space illuminates the physical human experience against Hoffman's theory. The second chapter delves into the metaphysical human experience and its connection to idealistic philosophical theories by Wayne M. McDonnell, Itzhak Bentov, and Bernardo Kastrup. It explores consciousness, space-time, energy, vibration, frequency, and the limitations of Hoffman's theory. Through an analysis of Listening Space's ecologies, the chapter investigates how the project can shed light on the metaphysical human experience and its relationship with idealistic perspectives. The research findings reveal that Listening Space effectively merges technology and artistic exploration, transforming invisible transmissions into tangible representations. It serves as a platform to explore the metaphysical human experience, highlighting cosmic consciousness. Overall, this research demonstrates the potential of art, specifically Listening Space, to provide deeper insights into the human experience and the realities beyond. The project's ecologies align with philosophical theories on consciousness and propose a way of metaphorically portraying the human brain as a fractal antenna. By intertwining theoretical concepts with Listening Space, this study tries to enrich our understanding of the physical and metaphysical dimensions of human existence and invites contemplation of universal consciousness.Show less
This thesis researches how multi-sensory design techniques, such as touchable replicas, scent and soundscapes, influence the perception and reception of art in the museum. To create a more limited...Show moreThis thesis researches how multi-sensory design techniques, such as touchable replicas, scent and soundscapes, influence the perception and reception of art in the museum. To create a more limited scope, the new permanent collection display Dwarsverbanden in the Van Abbemuseum in Eindhoven, the Netherlands, is used as a case study. The interest in the use of multiple senses has been a point of discussion over the last decade, or so. However, not many Dutch exhibitions or institutions have been discussed in this field. Furthermore, the focus of these resources is never on the educational and experiential aspects of a museum visit. This thesis is divided into three topics: the material, the invisible and the experience. The material focuses on the perception of the objects themselves and their reproductions, therefore the sense of touch is the centre of discussion. The invisible focuses on the communication of the more abstract senses smelling and hearing. The experience aims to research the influence of multi-sensory design techniques on the educational value and how a visitor's attention is divided in the museum context. This research shows that the multi-sensory design tools used in this exhibition are translations of the two-dimensional artwork, which can be used as an aid. The senses each have a different approach to interpreting the artwork and evoke a different response. The use of a replica can gain a different perspective and open a sensory world, normally not present in the museum. The senses of smell and hearing communicate meaning and emotion and connect the visitor to the artwork. Research on visitor experience shows that multi-sensory design tools create an active student and fight boredom.Show less
