“Mind/Body-Movement Embodiment and Interactive 3D audio/visual” presented by Byers


Session Title:

  • Sensory Body (Papers)

Presentation Title:

  • Mind/Body-Movement Embodiment and Interactive 3D audio/visual




  • ‘Body‑Movement interactive art installations, perception and consciousness in embodied Interactive 3‑dimensional audio/visual environments. Research paper which is based on arts‑practice‑based‑research concerning body‑movement interactive environments. The research relates to contemporary artists interactive installations, human machine interaction, culture, and society. They concentrate on creative/interactive experience within body‑movement interactive‑installations, combining interactive arts practice with embodiment and disembodiment theory. Particularly in the area of ‘kinaesthetic’ and ‘proprioception’, and body memory neurons, which are known to affect perception and consciousness? These artist‑led‑research interactive audio‑visual installations cause the experiencers to engage their mind‑body, with audio/visual environment affecting consciousness, which go beyond the human‑computer interface. I am exploring importantly human machine interaction not only from a ubiquitous and pervasive technological perspective, but from an embodied psychological perspective. In the context of complexities of visual/sound perception, empirical evidence is now showing more about body perception. This PhD artist research explored, body‑movement‑ interactive ‑perception techniques to the relation of body‑movement interactive audio/visual 3‑dimensionional/sound installations, and their effects on the user.

    The purpose is to gain a better understanding of body‑movement interactive installations. Most media theorists have been concerned with disembodiment associated with cyberspace and virtual Reality, which were not only triggers for theories of disembodiment, but also with it a revival of the corporeal – in the form of bodily action in the virtual world. Interactive works based on VR technical systems create possibilities for new qualities of self‑perception; as far as media can be used to reflect actions through direct depiction. The transformation of physical and spatial experiences brought about by information in the code call into question the boundary between material and immaterial, and also between physical perception and information flows. Mark Hansen (2006) believes that the human body, in the age of information flows, does not end at the   boundaries of its own skin. The human body constructs intimate relationships with digital information flows and data spaces.

    The direction for this artist’s research was to discover how to open up sensual perception channels, and particularly body perception, to free us, by “self‑visualization”, from the habitual, day‑to‑day, culturally inscriptive truths, that affect the way we perceive. Bio ethics research is demonstrating this process, by cyborg techniques being developed in laboratories; sonar, infrared, ultraviolet, and a myriad of others. They are all exciting techniques enhancing sensory perceptions, techniques to newly observe and depict the natural world.

    The ‘active realization’ of body‑movement perception is an alternating or a parallel manifestation of reflective and immersive moments. Aesthetic distance or reflection is possible and is an essential counterpart to absorption. Aesthetic experience of interactive art is especially shaped by the interplay between immersion and distance, for only in this way can one’s own actions become available as an object of reflection.

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