Take the long take

The experiential processes of film makers and spectators triggered by unedited shots

Participants

Cooperation between:

Katrin Heimann (Interacting Minds Centre, Aarhus University, Denmark)

Christian Suhr (Interacting Minds Centre, Aarhus University, Denmark)

Henrik Hojer (VIA Aarhus)

 
Financement

Interacting Minds Center, Trapholt Museum

Contact

Katrin Heimann <katrinheimann@gmail.com>

Christian Suhr <suhr@cas.au.dk>

Status

Ongoing

 
Summary

A common hypothesis about long takes is that they create a special presence and access to social reality due to the unbroken continuity of space and time (Bazin 1967: 28; Kissel 2008; Grimshaw and Ravetz 2009; Rattee 2012). In addition, it has been argued that long takes allow participants a specific mode of free viewing in which the attention of spectators wanders freely and independent thoughts and meta-thoughts arise (see MacDougall 1992: 37). Consequently, long takes have been applied by with a political aim by ethnographic filmmakers to allow viewers “to see and judge for themselves” without interruptions or filmic manipulation. Also in european art house cinema long takes play a role. In this study we are using experimental material from ethnographic film, as well as from fiction film to for the first time investigate the actual effect of this device when it comes to experience. For this purpose, MP interviews are combined with eye-tracking data. Pilot results will first be presented at the Conference of the Cognitive Study of the Moving Images in Hamburg, June 2019.

 

Updated on 4/4/2019

Catch me if you can

A micro-phenomenological investigation of aesthetic attraction in the museum context

Participants

Cooperation between:

Katrin Heimann (Interacting Minds Centre, Aarhus University, Denmark)

Karen Grøn (Trapholt Museum)

Joerg Fingerhut (HU Berlin)

Funding

Interacting Minds Center and Trapholt Museum, Denmark

 
Contact

Katrin Heimann <katrinheimann@gmail.com>

Status

Ongoing

 

Summary

Visiting an art exhibition is a cognitive challenge: It is impossible to attend adequately to all art works. Visitors therefore watch selectively, a fact that points to a decision process that is of high interests especially for museum disseminators and curators. How do we choose the pictures we attend closer to? In this pilot study we collected first data on the experience of museum visitors illuminating this question.

Updated on 4/4/2019

Le corps comme lieu de l’expérience des espaces muséaux et architecturaux

Participants

Doctorant: Marcus Weisen 

Directrice de thèse: Claire Petitmengin

 

Statut

Début 11/2015

 

Résumé

L'objectif du projet est d'étudier l'expérience du corps vécu dans la rencontre qui s'établit entre visiteurs et espaces muséaux, dans ses dimensions sensorielles, émotionnelles, esthétiques et cognitives. Selon une pensée architecturale  et  artistique d'inspiration phénoménologique, cette expérience est en grande partie pré-réfléchie et suscite une "pensée sensorielle". Nous utiliserons une méthode "micro-phénoménologique",  l'entretien d'explicitation, qui permet de décrire la part pré-réfléchie de l'expérience, notamment dans sa dimension dynamique,  avec un grand degré de précision, afin de recueillir un ensemble de descriptions de l'expérience vécue des espaces muséaux et d'en dégager la structure. Cette étude nous permettra une vérification empirique des hypothèses de la pensée phénoménologique en architecture.

Participants

Fergus Anderson (Alanus University, Germany)
Hanne Bess Boelsbjerg (University of Copenhagen, Denmark)

Kiku Day (Aarhus University, Denmark)
Karen Gron (Museum director at Trapholt Museum of Modern Art and Design, Denmark)
Emily Hammond (School of Psychology , University of Exeter, UK)
Justin Kelley (Rice University, US)

Anne C. Klein / Rigzin Drolma (Rice University & Dawn Mountain, US)
Eva Kreikenbaum (Basel University Hospital, Basel, Switzerland)

Jennifer Obbard (University of Aberdeen, UK)
Elsa Oliarj Ines (Film maker, Paris)

Kiki Palmer (Kristianstad University, Sweden)
Claire Petitmengin (Archives Husserl, ENS Paris, France)

Bruna Petreca (Royal College of Art, London, UK & Centro Universitário Belas Artes de São Paulo, Brazil)
Mary Rees (Saybrook University, US)

Donata Schoeller (ETH Zurich, Switzerland)
Mette Steenberg (IMC - Aarhus University, Denmark)

Gregory Walkerden (Macquarie University, Sydney, Australia)
Marcus Weisen (ENS Paris, France)

 

Financement 

Auto-financement et Interactive Minds Center

 

Statut

Terminé

 

Résumé

Le but du projet est de réaliser une étude pilote de l'expérience de la rencontre avec une oeuvre d'art. Dans le cadre d'un atelier d'une semaine (26-30 septembre 2016), dix-huit chercheurs formés aux méthodes micro-phénoménologiques ont visité l'exposition d'Olafur Eliasson dans le château et le parc de Versailles (5 juin - 30 octobre 2016), puis réalisé une description micro-phénoménologique de moments particulièrement significatifs de cette visite. Ce travail a donné lieu à un document de synthèse.

Publication

Document de synthèse "Touching / Being touched by art".

Mis à jour le 10/3/2017

Participants

PhD student: Bruna Petreca (Royal College of Art)

Supervisors: Prof. Dr. Sharon Baurley (RCA) and Prof. Dr. Nadia Bianchi-Berthouze (UCLIC)

 

Mode of funding

CNPq – Conselho Nacional de Desenvolvimento Científico e Tecnológico, Ministry for Science and Technology of Brazil (CNPq), within the Science without Borders programme.

 

Status

Completed (June 2016)

 

Summary

The textile selection is a crucial part of the design process, for which there is no systematic understanding and no support in place from the designer experience perspective. In the selection, designers need to synthesise technical information, their sensory and affective experience around textiles, and its related meanings. However, currently the textile industry just provides methods to describe, measure, or predict the properties of textiles perceptible to hand manipulation: methods that only partially support the designer. The thesis addresses this gap by contributing new understanding of when and how the textile selection happens in the design process, uncovering tacit processes and embodied aspects integral to it, and secondly, by developing a toolkit to support the designer experience when selecting. The Micro-phenomenology approach was brought in to explore the embodied aspects of textiles selection emerging as significant through my previous studies on tactile experience in more depth, using the ‘Micro-phenomenological Interview’ (Petitmengin, 2006) method to obtain a first-person verbal description of experiential processes. The latter revealed 3 types of touch behaviour and 3 tactile-based phases of the textile selection process, and their dynamics. The findings from the interviews were later used as input for designing ‘The sCrIPT Toolkit’, comprised of instructions that facilitate focus and elaboration of the textile experience in the textiles selection.

 

Publications

Petreca B. 2016. An understanding of embodied textile selection processes and a toolkit to support them. Thesis. Royal College of Art.

Petreca B., Bianchi-Berthouze N., Baurley S. 2015. How Do Designers Feel Textiles? In: Proceedings ACII’ 15. IEEE.

Updated on 16/01/2017

Participants

Bruna Petreca, Art Direction

Paula Petreca, Direction and choreography

 

Mode of funding

ProAC – Programa de Ação Cultural da Secretaria da Cultura do Estado de São Paulo, Brasil – (funded through PROAC call 04/2015)

 

Status

Completed (August 2016)

 

Summary

The Diptych of The Crowds (“Díptico das Multidões”) is formed by two choreographies (Cosmos & Axis) that investigated the city's lanscapes and the construction of urban bodies, the places of pause and the changes of journey, while asking how "we can be so many and be together, without uniformity."

In this project Bruna Petreca has used micro-phenomenologcal interviews technique as a means to tap into the dancers perceptions and discover means to express these materially collaborating to the dance expression. These interviews served as a basis to develop the concept of the art direction and supported greatly the costume design. Throughout the exchange process, the dancers also revealed that the process supported their own creative process.

 

Communications about choregraphies

http://www.abcdmaior.com.br/materias/cultura/alem-de-batalhas-de-mcs-praca-da-matriz-tambem-e-palco-para-danca

http://idanca.net/projeto-co-estreia-novo-trabalho-em-pracas-do-abc-paulista/

http://www.dgabc.com.br/Noticia/2007493/social-do-diario-danca-na-praca-incentiva-arte-em-santo-andre

https://catracalivre.com.br/sp/spetaculo/barato/satyrianas-2016-danca-circo-e-performance- invadem-roosevelt/

 

Videos

https://www.youtube.com/watch?v=Q-p6R-7tr-o

https://www.youtube.com/watch?v=F7QoxvCfKIk&t=1243s

Updated on 16/01/2017

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Olafur Eliasson, Fog assembly, Versailles, 2016, Photo Claire Petitmengin