Swing Shift

The Device: 

As we travel through a space, either through actual motion or through the mind while stationary, the central vision is distracted by sensory information in the peripheral.  The focus of our gaze changes as new information is intercepted and the experience within the space is distorted.  One of the most influential sensations that change the focus of attention is sound.  Sometimes, we may anticipate the sound and choose to ignore it, leaving it in the background.  To be aware of our surroundings, when a sound does not fit within our construct of the space, we seek out the knowledge of that sound, trying to ascertain the location and source.  While seeking the source, the sound holds power over our attention.  If we obtain this knowledge, then the power is broken.  If the source is not so easily discovered, that sound continues to wield power.  Through the intervals of this power struggle, our perception of the space is transformed – distorted.

My device is a combination between a sound meter and gaze-tracking camera.  The camera, through infrared light readings, tracks the movement of the eyes of the subject as she walks through a space.  The addition of the sound meter measures the level of background noise and distinguishes those sounds that rise above the average spatial acoustics.  Through reading the noises and tracking the movement of the eyes, the device reads the distraction properties as perceived by the subject.  For example, if a noise triggers the eye to casually glance, then we can read that the noise is not unexpected, but nonetheless a break with the normal.  If the eye snaps to a point, then the noise is most likely something unexpected.  When searching for the object, if the eye moves around, we can determine that the subject is searching for the source.  If the eye stays focused on the new object, then we can determine that the subject has found the source.

Using readings from different subjects and/or over various times, the data created begins to show how the same space is perceived as a landscape in flux.  The overlays of these readings create a spatial map of the area that can be used for further development of the site or as inspiration for the site design.

The Device… (to be painted and added to in the am…)

Small models about the rhythm of eye movement and space:

Some preliminary boards…  the first is my sheet of eyes which I think will become more like film strips.  The second is part of a board with the eye-film-strip, some eye rhythm patterns and space mapping.  I would like to add perhaps some eye mappings, the overlays of the space and rhythm, and of course, the sound readings.  Also to come…  mappings of the landscapes.  Kevin has suggested that I think about landscapes that convey a sense of emotion…  I have to think about that more… it’s been slow coming.

Me and my goggles… and a really short video of the eyes.  Creepy.

Oh, and here’s Veronika – she made this thing:

Veronika Franseza – Freelance Artist, Production Sound Mixer

Veronika Franseza was born in New York, grew up in Wyoming and studied music and painting at Cornell College.  After moving to Chicago, Veronika secured her first art show at a local restaurant and gallery.  After her explosion onto the art scene and the subsequent stalling of her career, Veronika joined forces with long-time acquaintance and classmate, Rohan Armide.  Together the two formed ChickenWire, Inc. to collaborate on artistic endeavors.  After 5 years together and many small commissions, they met up with former classmate Julietta Weedon on a fateful trip to Las Vegas.  Thus, a new collaboration was born and eventually recruited the rest of My Better Self.

Veronika’s work has been praised by several, feared by a few and occasionally spit on.  Much of her material is autobiographical and often strongly political even while abstract.  Of her paintings and audio / visual installations, Veronika says, “It’s an attitude; it’s an awareness.”