Can I touch you online? We cannot live without touch: it makes us feel connected, safe and together. Together with participants we biometrically investigate the emotional memory of touch, to be translated into multi-sensory, online and tangible experience of touch - to share with family, friends and strangers near and far. How do these new hybrid ways of touching and being touched feel?
Empathy Ecologies is an interactive performance installation for future empathetic human-plant connections. Plants and humans together co-create and explore a unique, immersive soundscape, through brain-to-brain and photosynthesis biofeedback from shared intimate physical connections: a planetary Empathy Symphony.
Kissing Data Symphony
Kissing Data Symphony is an art-science research into shared future imaginaries of emotional brain-to-brain kissing. In new rituals for intimate connections, participants and spectators wear EEG headsets during kissing or caressing each other, in Reflective Datascapes with data as Co-Actors. Awards: NFF Interactive nomination Golden Calf; TASIE 2019 Award/National Museum of China Beijing.
Agora Phobia (Digitalis)
Agora Phobia (digitalis) is a mobile monument for ‘public isolation’. Travelling since 2000 in city public spaces such as Amsterdam, Paris, New York, Berlin it questions and archives mental images and strategies for being (un)safe and isolated.The project connects social experiences in both the physical and the virtual space creating a hybrid agora.
AM I SAFE WITH YOU NOW? StalkShow is about privacy, control and the alleged threat of social insecurity in our public spaces. It is a response to surveillance as a way to 'eliminate violence': 'What is rejected and refused in the symbolic order reappears in reality. Specters, ghosts and phantoms haunt the world.’ StalkShow invites the audience to ‘infiltrate’ our smart city public spaces with a wearable interactive billboard, to provide the alleged threat with a personal face.
Entering The Paranoid Panopticum you will run across your own fixation on control. While you will be able to control the visual by mirror and video- projection, a shift in the perception of reality takes place. Controlling changes into fear of being controlled, maximizing control becomes its own threat.
Intimacy Agents shares intimate experience of kissing and caressing, in online public space.
Can I touch you online?
We cannot live without touch. Touching is key to empathy, well-being and social cohesion. We touch to feel connected, safe and together, to trust. Today, increasingly people live solitary, or distant from beloved ones, limiting their experience of touch. In the physical public space, coming together in intimate proximity is discouraged, or even criminalized by the current pandemic developments. Online technologies extend our visual and sonic abilities beyond space and time, but research into remote social touch is still in its infancy. What kind of experience would we want from mediated touch? Current technological research into social touch often focusses on bio-metric control and surveillance technologies, AI algorithms, profiling and social media.
This approach raises critical questions about our privacy and our shared agency: to be creative, feeling to be in touch. Touching to trust emerges from embodied, playful tuning, in synchronizing and mirroring movements. Key to intimate experience are shared vulnerability and responsibility, in dialogue. Can we rethink communal experience of touch? Can we technologically expand our tangible bodies into communal embodiment in public space, for everyone to participate? Can we use the internet as a public space, to be in dialogue and to share storytelling, exploring future narratives of touch, through touch?
For Intimacy Agents, Lancel/Maat create an online public space to share intimacy of a kiss. Performance of two actors kissing is real-time exposed, while their brain-activity is measured and real-time translated to a soundscape. On entering the space, participants all choose a different heartbeat frequency which adds to the soundscape. During the kissing performance, participants explore and move from a distance, through the spheric virtual environment. The space is fueled by intimacy and a distant soundscape, born by the shared, public heart-beat.
When getting closer to the people kissing, participants are challenged to tune in with their individual heartbeat sound: the sound intensifies through increasing proximity.
After the performance, participants are invited to share their response to the questions:
Did feel to support the kiss through your heartbeat?
Did you feel responsible to the kissers through manipulating their soundscape?
Intimacy Agents is part of the internationally presented and awarded Shared Senses.
This performance research includes Reflexive DataScapes, Multi Brain Computer Interfaces (BCI), Neurofeedback Systems and communal rituals on the concept of Mirror-Touch Synaesthesia. The Shared Senses rituals invite the audience to mirror and synchronize performance of touch, such as kissing and caressing, to co-create an intimate environment in (online) public space. Essential to these rituals are spectators witnessing participants and each other. Furthermore, biometric digital data are purposefully not scientifically validated or interpreted: instead, we explore spontaneous data as poetic, Dancing Data, of intimate interaction and experience through personal interpretation based on shared memories, storytelling and narratives. The audience reflects on digital data, as ‘Co-Actors’ in a new intimate practice of touch in public space.
Participants inside wear EEG headsets to measure their brain activity while kissing or carefully caressing each other’s faces. Simultaneously, biofeedback (CO2, nitrogen, oxygen) of plants close to their bodies is measured. The resulting bio-feedback data, of both plants and participants, are real-time compared and combined. The shared human-plant bio-feedback is real-time processed in an algorithm and translated to data-visualization and data-audification (soundscape).
'Der Morder ist der letzte Mensch, der noch Kontakt sucht, wehrend der Rest der Menschheid nur noch auf Rolltreppen aneinander vorbeifarhrt.
In solch einer Welt wird der Mord, der Konflikt zum Statthalter der Humantait.' (Heiner Muller)
De video toont een portret van een busreiziger die in gebarentaal een interpretatie rapt van 'Moordenaar', een nummer van de rapgroep Osdorp Posse. Met dit portret wil ik het reizende publiek een verbeelding laten maken van hun medereizigers, die je meestal niet eens ziet maar slechts waarneemt.
In dit kunstwerk benaderen de kunstenaars de rotonde als:
'conflict vermijdend model', waarin de publieke ruimte veilig is zolang we 'langs elkaar heen glijden'.
De Lifter bestaat uit 3 delen: een samenwerking met uit huis geplaatste jongeren, een website en een monument voor een lifter op de rotonde.
In de wijk Kerckebosch vindt de komende 15 jaar een transformatie plaats. Een oude wijk verdwijnt. Daarvoor in de plaats ontstaat een nieuwe wijk voor zowel de huidige als nieuwe bewoners. Gedurende de looptijd van deze transformatie ontvangen een aantal kunstenaars de opdracht en werk te realiseren dat aansluit bij de verandering in deze wijk. De eerste opdracht is verstrekt aan Karen Lancel en Hermen Maat.
Interactive installation, Simulated Artificial Intelligence, Talking Chair, Table and Bed. At first they are friendly; slowly they develop each an identity slightly twisted. The chair becomes an electric chair; The table 'thinks' to be the round table of King Arthur; The bed 'thinks' it's for sale in a departmentstore, inviting you for al kinds of action,...
Helden op Herhaling
Helden op Herhaling is een interactief gezelschapsspel. Het publiek speelt met maakbaarheid, met vervreemding van bijvoorbeeld intieme en geweldadige ervaringen
en met de `echte, kwaliteits'ervaring als produkt.
Binnen de vorm van een gezelsschapsspel onderzoekt Helden op Herhaling hoe deze thema's individueel worden ervaren, en welke rol de verbeelding daarbij speelt. Het spel geeft de gelegenheid te spelen met begrippen als Echt, Onecht, Live, Intiem - en Lekker.
TypoTattoo body The body as both socially and culturally constructed will always be open to and have complex meanings assigned to it. Campbell and Spackman (1998, p.57) state “there is no ‘naked,’ ‘natural’ body; the body, no less than language, is prescribed by culture” and they continue by quoting Barthes “even and especially for your own body, you are condemned to the repertoire of its images”.’
Inviting Invisibles Photo Performance
Sniper Alley in Sarajevo and Stari Most in Mostar. In wartime life challenging transfers. Now danger is ‘under control’, but invisibly present. Since every Sarejevo inhabitant lives with invisible war images in his memory. Archived in a traumatized body these images are continuously invisibly present. The tourist, the outsider on the photo, has seen it all... through media. He enters a mediated, and therefor bodeyless war-zone; invisibly present. In what kind of ‘zone’ he finds his body?
Photos of Hermen Maat with shaved-out text on the back of his head: Inviting Invisibles. Photo’s Karen Lancel Hosted by Sarajevo Center for Contemporary Arts pro.ba and Sarajevo Goethe institute
Part of Inviting Horror
Interactive installation Art for two people.
Their face crossfades and merged in to each other. This is by the buttons on the tabe. These buttons give audio fragments to the participant. There are two conversations: one about reflection on communication and one where you become part of a conversation in which two people in a bar court each other. Recorded in English, dutch and german. With a record and play button people could add and play statements. The buttons controled the crossfade.
At the show of Maat Netwerken at A.I.R. visitors were recieved by a host.
Together they entred the visitors data in the computer.
The Computer gave every visitor a personal code.
Then a handprint was made together in the dark room.
Darkroom in the exhibitionspace Exhibitionspace with handprints of visitors.