{"id":15623,"date":"2014-10-15T20:16:00","date_gmt":"2014-10-15T20:16:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15623"},"modified":"2023-10-30T20:19:50","modified_gmt":"2023-10-30T20:19:50","slug":"the-human-sensorium","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/the-human-sensorium\/","title":{"rendered":"The Human Sensorium"},"content":{"rendered":"\n<p><a href=\"http:\/\/www.singaporeartmuseum.sg\/events\/public_programmes.html#sensorium\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Sensorium 360\u00b0<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/singapore-art-museum\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Singapore Art Museum<\/strong>&nbsp;<\/a>(71 Bras Basah Road),&nbsp;<strong>July 31\u2013Oct 22, 2014<\/strong><\/p>\n\n\n\n<p>Often, when brash young artists come to the realization that the sense of sight is accorded special significance in art, they are moved to challenge this hierarchy by choosing to privilege, say, the Dionysian sensuality of touch and taste over the penetrating coldness of Apollonian vision. The benefits of substituting one hierarchy for another aside, however, these efforts often miss the elephant in the room\u2014that this scheme of five senses is about as hoary and valid as the theory of&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Phlogiston_theory\">phlogiston<\/a>&nbsp;to explain combustion, or the pre-modern medical theory of humors. Swallowing it uncritically and without examination would seem to pose risks analogous to having a \u201cchirurgeon\u201d come round to bleed you for a cough\u2014or at least risks similar to those of unquestioningly acceding to the supremacy of the eye.<\/p>\n\n\n\n<p>In this regard, the latest show by the Singapore Art Museum, \u201cSensorium 360\u00b0\u201d, comes as welcome respite. Among other less familiar senses, the show also touches on&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Proprioception\">proprioception<\/a>, kinaesthesia, and&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Time_perception\">chronoception<\/a>, questioning the dominance of vision in art while also expanding the sensory field beyond the traditional five; its title suggests that establishing a definite count and hierarchy is besides the point. There being relatively little by way of established aesthetic traditions concerning these senses, the exhibition\u2019s ambition seems to be to rise to such a challenge, hopefully breaking new ground in the process.<\/p>\n\n\n\n<p>Alecia Neo\u2019s \u201cUnseen: Touch Field\u201d bills itself as a work which dislodged sight in favor of touch, based on Neo\u2019s work with the visually impaired. Oddly enough, the work is relatively brightly lit, allowing us to see dark panels of Braille-like imagery, drawn from \u201ctactile drawings\u201d by visually impaired participants of commonplace scenes in their surroundings. In an exhibition dedicated to fully exploring the senses, though, it seems markedly odd to frame one sense\u2014touch\u2014in terms of the absence of another, by leveraging those who lack (or have severely impaired) vision, somehow echoing some sort of \u201csighted-man\u2019s burden.\u201d<\/p>\n\n\n\n<p>In a somewhat similar vein, Lavender Chang\u2019s \u201cUnconsciousness: Consciousness\u201d, while touted as a work centered on chronoception (or the perception of time), consists of a series of five prints. While each print is built on long exposures of sleeping figures in bed, the sense of time here is one of represented time, translated into a still image\u2014much as the pain and duration in Melati Suryodarmo\u2019s \u201cAl\u00e9 Lino\u201d can only be experienced (unless you were present on the opening night) as documentary traces.<\/p>\n\n\n\n<p>Chang\u2019s actual images, while undeniably ravishing\u2014elegiac contortions of some noctilucent fever-dream\u2014engage with our sense of time as still images tend to, through our capacity to imagine what has transpired in its making and the passage of time experienced (or not, since they are sleeping) by the half-glimpsed figures in each image.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/Alecia-Neo_Unseen-Touch-Field_Image-courtesy-of-Singapore-Art-Museum_7.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/Alecia-Neo_Unseen-Touch-Field_Image-courtesy-of-Singapore-Art-Museum_7.jpg\" alt=\"\" class=\"wp-image-50173\" title=\"Alecia Neo_Unseen- Touch Field_Image courtesy of Singapore Art Museum_7\" \/><\/a><figcaption class=\"wp-element-caption\">Alecia Neo, \u201cUnseen: Touch Field\u201d, 2014. Image courtesy of Singapore Art Museum<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-497.png\" alt=\"\" class=\"wp-image-15624\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-497-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-497-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-497-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-497.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Lavender Chang, \u201cUnconsciousness \u2013 Consciousness\u201d, 2011-2013. Image courtesy of Singapore Art Museum<\/figcaption><\/figure>\n\n\n\n<p>On the other hand, Eugene Soh\u2019s \u201cThe Overview Installation\u201d offers the tantalizing premise (through augmented reality) of literally removing ourselves from our familiar binocular perspective to instead approximate the point of view of, say, a lizard or another participant while navigating a simple maze. While the disorientation of ocular dislocation is as dizzying as it sounds, there is a lingering sense that the work as a whole feels more like a technical demonstrator, some proof-of-concept prior to a developed work.<\/p>\n\n\n\n<p>As opposed to a single note of sensation, Mark Wong\u2019s \u201cMemory Rifts\u201d proffers a technically simpler, yet aesthetically and sensually efficacious experience. By simply dispersing a nine-instrument composition across nine points within the museum, Wong obliges us to physically traverse the space in order to hear parts of a piece of music that cannot be heard as a whole at any one point in space. In other words, audition is keyed to our kinaesthetic,<a href=\"https:\/\/en.wikipedia.org\/wiki\/Proprioception\">&nbsp;proprioceptive<\/a>,&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Equilibrioception\">equilibrioceptive<\/a>&nbsp;(sense of balance) and\u2014if your balance suffers when lost in music and you fall down the stairs\u2014<a href=\"https:\/\/en.wikipedia.org\/wiki\/Equilibrioception\">nociceptive<\/a>&nbsp;(related to pain) capacities. In truth, it is almost beside the point simply to enumerate the exact senses that become enmeshed with this active sense of audition\u2014of listening, rather than hearing.<\/p>\n\n\n\n<p>Goldie Poblador\u2019s \u201cMay Puno sa Dibdib ng Kamatayan (There is a tree in the heart of death)\u201d also expresses this bridge between the senses. Poblador\u2019s stated objective is the exploration of synaesthesia, specifically in the confusion or co-mingling of sound and scent, as senses perceived to have a greater capacity to stir our memories and evoke emotional responses.<\/p>\n\n\n\n<p>The work itself revolves around the idea of translating musical composition to that of scent, with the visitor enjoined to compose their own arrangements of scents, with reference to vials of smells that Poblador associates with pieces of music in an adjoining room. A consequence of playing amateur&nbsp;<em>parfumier<\/em>&nbsp;(the \u201cnose\u201d), though, is that one has to repeatedly bend down to open and sample bottles of various scents. It is a repetition which could recall some sense of either meditative discipline or assembly-line drudgery, invoking also the senses of one\u2019s own bodily positions and movements; even as the boundary between scent and sound is deliberately crossed, other boundaries blur and shift as well.<\/p>\n\n\n\n<p>Li Hui\u2019s cages of green lasers flicker in and out, forming a shifting pattern of barriers and boundaries which, though visually imposing, are about as physically substantial as one would expect light to be\u2014inviting anything from the classic miming routine of the invisible box, or imagining yourself in&nbsp;<em>Mission Impossible<\/em>. Levity aside, Li\u2019s \u201cCage\u201d relies on the relationship between our visual and spatial senses of our surroundings, flowing rapidly between congruence and disagreement; Li\u2019s work also alludes to the notion that the boundaries that we determine are largely reliant on our own perceptions.<\/p>\n\n\n\n<p>Similarly, in proposing some grand tour of the human sensorium, the show as a whole, though phrased in terms of specific senses, exhibits this same uncertainty of boundaries\u2014those works which were shoehorned too forcefully into a given sensory category betray this instability. Our senses, it seems, are not as neatly demarcated as the language we rely upon to describe them; they flow and shift and bleed over into one another, as anyone who\u2019s held their nose to choke down some bitter medicine can readily attest.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/Eugene-Soh_The-Overview-Installation_Image-courtesy-of-Singapore-Art-Museum_6.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/Eugene-Soh_The-Overview-Installation_Image-courtesy-of-Singapore-Art-Museum_6.jpg\" alt=\"\" class=\"wp-image-50184\" title=\"Eugene Soh_The Overview Installation_Image courtesy of Singapore Art Museum_6\" \/><\/a><figcaption class=\"wp-element-caption\">Eugene Soh, \u201cThe Overview Installation\u201d, 2013-2014. Image courtesy of Singapore Art Museum<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-498.png\" alt=\"\" class=\"wp-image-15627\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-498-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-498-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-498-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-498.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Mark Wong, \u201cMemory Rifts\u201d, 2014. Image courtesy of Singapore Art Museum<br><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/Christina-Poblador_May-Puno-sa-Dibdib-ng-Kamatayan-There-is-a-tree-in-the-heart-of-death_Image-courtesy-of-Singapore-Art-Museum_5.jpg\"><\/a>Christina Poblador, \u201cMay Puno sa Dibdib ng Kamatayan (There is a tree in the heart of death)\u201d, 2014. Image courtesy of Singapore Art Museum<br><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/Li-Hui_Cage_Image-courtesy-of-Singapore-Art-Museum_4.jpg\"><\/a>Li Hui, \u201cCage\u201d, 2006-2014. Image courtesy of Singapore Art Museum<br><a href=\"http:\/\/www.jiathis.com\/share\" target=\"_blank\" rel=\"noreferrer noopener\"><\/a><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-499.png\" alt=\"\" class=\"wp-image-15630\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-499-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-499-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-499-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-499.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Li Hui, \u201cCage\u201d, 2006-2014. Image courtesy of Singapore Art Museum<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"68\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-500.png\" alt=\"\" class=\"wp-image-15633\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-500-300x39.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-500-150x19.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-500-500x64.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hans\/image-500.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Sensorium 360\u00b0 Singapore Art Museum&#038;nbsp &hellip; <a href=\"http:\/\/www.randian.art\/zh-hans\/the-human-sensorium\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15636,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[10720,10718,10719,10721,10722,10723,10716,10717,10117,10715,10714,4112],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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