More-than visual approaches to architecture. Vision, touch, technique

Paterson, Mark

doi:10.1080/14649365.2011.564733

Cited by 29 publications

(14 citation statements)

References 42 publications

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“…It include kinaesthesis (the feeling of motion, pertaining to sensations originating in muscles, tendons and joints), proprioceptive awareness (the body's sense of its position and orientation in space), and the vestibular sense (that of balance, reliant upon the inner ear) (Garrington, 2013;Paterson, 2009). In cognitive science, this set of internally felt bodily sensations is often referred to as the somatosensory system (Paterson, 2011). In order to fully appreciate the notion of haptic sense, we may distinguish between haptic and tactile perception.…”

Section: Disaster Simulation As Haptic Space and Corporeal Feelingmentioning

confidence: 99%

The Haptic Space of Disaster

Linnell

2019

Space and Culture

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Section: Disaster Simulation As Haptic Space and Corporeal Feelingmentioning

confidence: 99%

The Haptic Space of Disaster

Linnell

2019

Space and Culture

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“…He argues that by suppressing the other four sense, the experience of the built environment is less rich, and less engaging that it could be -than it should be. Research indicates that architecture is more than just visual -it is place, which through all of the senses, and through memory, provides a deeper meaning to what it is to be human, and is ingrained in our self-identity [14]. Since color is tied to memory, and is connected to our sense of place, of self-identity, and is a trigger for recollection of experience, color itself is a gateway to a multisensory experience, and can be used in strategic ways in design.…”

Section: Phenomenologymentioning

confidence: 99%

Psychological, physiological, and phenomenological effects of colored light

Scott

Theodorson

2019

SHS Web Conf.

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This research explores colored light from historical, scientific, and technological vantage points. Effects of colored light on the human condition are examined on multiple levels, comparing theories in physiological, psychological, and phenomenological areas of study, addressed across a broad scope of literature. The focus of this research is to gain an understanding of the effects of colored light on the human condition, and how designing with it can provide an engaging phenomenological experience which marries centuries’ old design techniques with modern technological innovations. The stages of research include a literature review, followed by a series of creative explorations with light, texture and form through small-scale models. Data gathered is then analyzed, categorized, and used to create a taxonomy for designing with colored light. Research is then explored on a larger scale through a pilot study conducted in a 5’ x 9’ room designed to create an experience of being bathed in colored light with user-controlled variability. Each research method may then be used to inform the design of interior environments, affecting the participant’s physiological, psychological, and phenomenological experiences.

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“…This corporeal addition required a re‐assessment of my body's haptic information, as spatial awareness is a knowledge base developed through tactual, kinaesthetics and proprioceptive sensation gained via past corporeal experience (see Hawkins & Straughan, ; Paterson, ). Consideration of the sense of touch, and the haptic system that it is a part of, has drawn attention to the “more‐than‐visual” (Paterson, ) nuances of vision within which the haptic is thoroughly implicated (Dixon & Straughan, ; Hawkins & Straughan, ). It is through past haptic experiences that we learn how to perceive and respond to the three‐dimensional space around us in the present, and this can be meaningful.…”

Section: From Experimental Geographies To Geographies Of Touchmentioning

confidence: 99%

A touching experiment: Tissue culture, tacit knowledge, and the making of bioart

Straughan

2018

Trans Inst British Geog

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In this paper I present an experimental project carried out at The University of Western Australia's art and science organisation, SymbioticA. The paper looks to the embodied practice of learning to make bioart through consideration of the tools and protocols required in the making process. In so doing, the paper traces through the process of “making” by attending to the sense of touch in the laboratory. As an analytical guide, I work through Polanyi's concept of tacit knowledge, which I approach through a focus on the sense of touch, to consider the ways in which proximate knowledge is generated at SymbioticA between artist, objects and subjects. This is knowledge that not only emerges to enable the experimental project, but which also re‐works it. Such an approach provides mechanisms for close consideration of the various actants with which knowledge is generated. In so doing, I offer a post‐phenomenological account of embodied practice in the space of the laboratory to think through the roles of the somatic senses and non‐human others, as well as artists themselves, in the acquisition of knowledge at SymbioticA. Deploying an experimental project as research method is, I argue, a valid methodological manoeuvre for geographic studies into experimental spaces such as the laboratory as it enables unforeseen lines of inquiry to emerge through “doing.”

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More-than visual approaches to architecture. Vision, touch, technique

Cited by 29 publications

References 42 publications

The Haptic Space of Disaster

The Haptic Space of Disaster

Psychological, physiological, and phenomenological effects of colored light

A touching experiment: Tissue culture, tacit knowledge, and the making of bioart

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