assessment cover sheet - the seizure experience through art

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Understanding the Seizure Experience: An Artistic Approach Jack Packshaw Queensland College of Art Griffith University Submitted in fulfilment of the requirements of the degree of Bachelor of Digital Media with Honours Supervisors: Dr. Laini Burton Daniel Della-­‐Bosca November 2015 Griffith University collects, stores and uses personal information for administrative purposes only. The information collected is confidential and will not be
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Abstract This exegesis investigates the process of developing an alternate understanding of a seizure experience through art. A seizure experience is difficult to explain, and verbal or visual definitions communicating the experience can be difficult to understand. Most people would struggle to interpret medical, scientific, and academic explanations, but in this Honours Research project, I have conveyed the seizure experience in a way that aims for understanding, to educate and create awareness of epilepsy and seizures. It has become an exploration of consciousness impairment with a unique strategy for potential understanding. Taking a phenomenological approach, this research employs both qualitative and quantitative methods and focuses on the personal experience of an epileptic individuals seizure. From this research, I have developed a body of work that replicates this experience and takes the audience on a journey through a multimedia installation, incorporating a combination of sound and video. The resulting work used digital means to design the experience via specific computer software programs. The final work stems from analysis and reflection of the data collected via the chosen research method. The research has been successful in that a new way of understanding a seizure has been demonstrated, offering the audience and non-­‐epileptic individuals the opportunity to gain an understanding of a seizure and the journey some epileptic individuals experience. Keywords: Seizures, consciousness, artwork, design, experience. 2
Table of Contents ABSTRACT……………………………………………………………………………………..2 TABLE OF CONTENTS…………………………………………………………………….3 STATEMENT OF ORIGINALITY………………………………………………………..4 ACKNOWLEDGEMENTS………………………………………………………………….5 INTRODUCTION……………………………………………………………………………..6 CHAPTER ONE……………………………………………………………………………….8 -­‐ CONSCIOUSNESS IMPAIRMENT AND THE SEIZURE PROCESS……………8 -­‐ RESEARCH METHODS AND METHODOLOGIES………………..……………….9 CHAPTER TWO……………………………………………………………..……………....11 -­‐ EXPERIENCE AND DESIGN THROUGH ART………………………..…..………..11
-­‐ RELATIVE EXEMPLARS………………………………….…………….14 CHAPTER THREE… ………………………………………………………………………16 -­‐ STUDIO PRACTICE………………………………………………….……………….16 CHAPTER FOUR…………………………………………………………………………….22 -­‐ CRITICAL REFLECTION………………………………………………………………..……22 -­‐ EVALUATION………………………………………………………………..…………………22 -­‐ CONCLUSION…………………..……………………………………………………………..23 REFERENCE LIST………………….…………………………………..……………………24 IMAGE REFERENCE LIST………………………..……………...………………………25 BIBLIOGRAPHY…………….……………………..…………………...……………………26 IMAGE LIST………………………………………………………...…………….……………29 APPENDICES………………………………………………………………………………….38 -­‐ APPENDIX B: INFORMATION SHEET………………………………………..………38 -­‐ APPENDIX A: CONSENT FORM………………………………………………….….…40 -­‐ APPENDIX C: QUESTIONNAIRE QUESTIONS…………………………………….42 3
Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Jack Packshaw
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Acknowledgements Throughout this complete process there have been many individuals who have influenced and guided me towards the best possible outcome for this research project. The contextual foundations of this project were established in 2nd year of my undergraduate degree with the basic creation of artworks for course assessments. At this time I had no idea that I would be exploring these concepts two years down the line for an Honours degree. It was Dr Laini Burton who witnessed my evolution as an artist and always showed me the best path to follow. She has been a mentor since the beginning and was an excellent Principle Supervisor. I would not be the creative practitioner I am today without her wise words and knowledge. I would like to thank all those epileptic individuals who participated in the research study. The respondents—fifty in total—provided me with priceless data to analyse, compare, contrast, and reflect upon, which highly contributed to the success of the project. The support of my family and friends has been tremendous. The journey of this research project with them has been balanced and harmonious. They were always letting me know that “they were there” if I needed them. At times they have shared their ideas with me, helped with artwork construction, or even just given me a lift to the hardware store, all these things also contributed to the success of the project. I would like to mention Kylie Hicks, a teacher I had in 2nd year of my undergraduate degree. The artwork assessment for her course ‘Spatial Practices’ was the first time I had begun epileptic exploration through art using multimedia installation. Though the artwork had a deep concept, she was disappointed at the final product. After I had presented the artwork to the class, she told me that it was “potential unrealised”. It was these two words that ultimately led me to continue epilepsy exploration through sound and video. Thank you Kylie. 5
INTRODUCTION Research into human consciousness has revealed that it remains a conundrum among various fields of inquiry. From neuroscience to psychology, philosophy to spirituality, the conceptual and literary definitions of consciousness remain broad. Though there are multiple explanations for awareness, there are many more ways to interpret it. So, how is an individual to decide upon a definition? Invariably, this decision is informed by an individuals beliefs and values. The complexity of the concept of human consciousness is further raised into question when considering neurological disorders such as epilepsy. As a person who experiences epileptic seizures, comprehending consciousness is of primary interest in my art practice. Epilepsy is a neurological disorder that causes recurrent seizures in the patient. This research investigates the impairment of consciousness that occurs during a seizure event. I aim to bring an understanding of epilepsy-­‐induced consciousness impairment via an artist approach. This understanding of epilepsy-­‐induced consciousness impairment will come to fruition through my art practice, which registers the seizure experience through multimedia installation. In doing so, my practice seeks to explore a different way of comprehending the seizure experience and could provide a higher level of empathy for people with epilepsy. The basis or foundation of the artwork lies in first-­‐hand experience of epileptic seizures and also in an analysis of phenomenological research on the seizure experience gathered from epileptic participants. In the experience of the artwork, the viewer is instilled with a physical and mental understanding of a secondary generalised tonic-­‐clonic seizure. The first chapter of the exegesis delves into consciousness impairment and explains the process and phases of a secondary generalized tonic-­‐clonic seizure. The chapter also explores the research method and methodology of the research project; specifically the phenomenological approach which entailed designing a qualitative and quantitative questionnaire for epileptic individuals. The questionnaire aims to gather data on their experience with epilepsy-­‐induced consciousness impairment. 6
The second chapter of this exegesis contains a contextual analysis, comparing and contrasting my research with a literature review and a practical review of artists whose work explores similar topics. The literature review discusses aspects of design utilised in the body of work and the correlation with the project. The practical review explores the creative practitioners that correlate with my studio practice and my project as a whole. The third chapter of this exegesis explores my studio processes and art practice. In this chapter, I describe the course of development my studio work has taken and highlight important concepts throughout the research project. Recognising these concepts and presenting them in my work allows me to identify how I have answered the research question through artistic means. The fourth and final chapter concludes with an analysis of the project and its outcomes. This includes a critical reflection and evaluation on the studio research processes undertaken. The critical reflection identifies moments during the research project’s development and the evaluation discusses the future plans of the project, including what direction it may take in the industry or field of inquiry that it sits within. 7
Chapter One CONSCIOUSNESS IMPAIRMENT AND THE SEIZURE PROCESS There are many forms and causes of consciousness impairment, ranging from light-­‐ headedness caused by simple dehydration to convulsive epileptic seizures. As an epileptic myself, I am sometimes asked to explain what a seizure feels like or how it starts, but words cannot adequately describe the seizure experience. This is because the feelings and sensations of consciousness impairment that are experienced during a tonic-­‐clonic seizure prevent me from doing so (or say ‘prevent knowing representation’ or ‘prevent representational exactitude’) and therefore cannot be portrayed through mere words, but rather, are best conveyed in ‘images’ that affectively seek understanding and empathy. For a non-­‐epileptic individual to understand what a seizure is like, they need to feel the impairment of consciousness and the sensory manipulation felt during a tonic-­‐clonic seizure. This seizure type can be examined accurately through specific ‘stages’. Reflection of first-­‐hand experience revealed that my seizure type, secondary generalised tonic-­‐clonic seizure, comprises of three main stages: the Aura, Ictus, and Postictal (Weisberg, Garcia and Strub, n.d.). Any other time period outside that of my seizure activity is known as the Interictal stage. The aura stage usually follows a seizure trigger, and is the beginning of the tonic-­‐clonic seizure. It is the stage that sparks activity in the seizure origin of the brain and starts the consciousness manipulation. The aura continues until ictus begins and I enter the seizure completely. This phase of the seizure experience creates memory loss, leaving amnesiac effects and various other forms of consciousness impairment as I enter the postictal stage. Through personal experience and collection of phenomenological research data, I found that each of these stages could induce different impairments upon the consciousness of individuals who experience seizures. As an artist with epilepsy, I have been given the opportunity to portray consciousness impairment during the seizure experience via a different method. 8
RESEARCH METHODS & METHODOLOGIES The research process impels me to ask different questions about the seizure experience. I use this as a reflection technique to strengthen my knowledge and as a basis for new conceptual avenues to explore through studio practice. The first step in the process of my project was a linear deconstruction of the research question into key words. Identifying these key words offered the first research avenues to investigate. ‘Artist’, ‘consciousness’, ‘experience’, and ‘epilepsy’ are the important words identified from the research question. I found that qualitative research methodologies like Interpretive Phenomenological Analysis (Phenomenology) and aspects of quantitative research would work best to gather the information I required from my study. To achieve my research aim, I developed an online questionnaire that is specifically directed at epileptic individuals and their personal seizure experience. The ethical clearance process was rather short for the questionnaire. I was not dealing with children or animals, which made the process simple and easy. There are both qualitative and quantitative questions on the questionnaire and it is designed around the tonic-­‐clonic type seizure of epilepsy (Appendix 1). Though the questions are designed around this certain type of seizure, the participants experienced various types, spanning from simple partial seizures to tonic-­‐clonic seizures. The qualitative questions are open ended and simple, allowing for broad interpretation from the epileptic respondents. This questionnaire and the descriptive answers provided presented me with multiple first-­‐ hand experiences of other people’s seizure experiences. To build the quantitative aspects of my research, I wrote and reflected on the feelings involved in each of the three stages and then applied this to the construction of the questionnaire. This created a foundation of personal experience while remaining relational to participants who were invited to offer their own experiences. Not only have the quantitative questions provided me with the required data, all of the results have underlying connections to my own experience. The quantitative questions present a list of impairments that could be experienced during each stage of the respondent’s seizure. These impairments could be physical, sensory, or emotional depending on the individual. 9
The results of the questionnaire have offered a range of qualitative and quantitative data to compare and contrast to my own first-­‐hand experience with seizures. These results have enabled me to identify what sort of feelings I needed to create in each stage of the simulated seizure experience. Though I had gathered the information required to design the installation via IPA methods, I felt the need to show the sound composition to an epileptic individual and get their opinion. I spoke to a young man who had suffered with epilepsy since adolescence. He listened to the sound and said that it reminded him of a seizure and that it has potential to communicate the experience.1 1
This was a personal exchange of information via an in-­‐person meeting. It was not recorded, resulting in no form of transcript or written communication.
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Chapter Two EXPERIENCE AND DESIGNING THROUGH ART Designing experiences through art has been an aspect of my artist practice for almost two years. I have recently discovered experience design as a disciple and position myself as a sonic and video artist that designs experiences. Where does this place me in the art and design world? I utilise design processes in my practice, but produce artworks. Am I an artwork designer? To me this title seems too broad and open. Artworks can be designed in many ways, through many mediums. A deconstruction of my artist practice and the conceptual foundations enabled me to identify myself as a creative practitioner who designs experiences through art.
Nathan Shedroff explains that the level of understanding created by an experience can affect the point of view it exhibits, claiming “The most important aspect of any design is how it is understood in the minds of the audience” (Shedroff, 2001, p.60). He states that this point of view can affect the interaction and relation individuals have with it (Shedroff 2001, p.232). For example, this project aims to form an understanding of a seizure artistically via a first-­‐person point of view. Some individuals may interpret the work and gain little understanding of the work’s point of view, but others may leave with a newfound understanding of the seizure experience, by observing the work’s first-­‐person point of view. Thus, this strategy of positioning the viewer as ‘first-­‐person’ was integral to the experience of the final work. Experience design is a branch of knowledge and practice that is still finding its true meaning. The discipline can be seen as a process that lies specifically within digital media. It can also be seen as a form of design that can be applied to various areas and fields, spanning from theatre and architecture, to storytelling and game design, and so on, so forth (Shedroff 2001, p.2). 11
When thinking of my final work titled Stimulation Simulation 2015, Shedroff’s idea that experiences should alter and adjust to a more suitable level for the audience (Shedroff, 2001, p.116) seems oxymoronic. Stimulation Simulation 2015 aims to create an experience that forces the audience to alter and adjust rather than the other way around. In Peter Benz’s 2015 book ‘Experience Design: Concepts and Case Studies’, Connie Svabo and Michael Shanks explain that experience could potentially include cognitive and physical qualities, and may contain immersion and the fusion of action and awareness (Benz 2015, p.25). They also explain that having an understanding and knowledge of “experience as sense, emotion, and cognition” could prove helpful in design practices. Dividing experience into three sections, these being mental, emotive, and sensory, can offer the practitioner a further understanding of experience. As well as providing an understanding, this three-­‐part division creates an easier method of designing an experience (Benz 2015, p.27). As an artist who designs experiences through art, I find that this knowledge is beneficial in replicating the seizure experience artistically. Deconstructing the seizure experience into these three sections created a foundation to build upon for my artwork. Tara Mullaney claims that thinking about the experience before the final product, in my case the finished artwork, is one of the fundamental principles of Experience Design. The reasoning for this is that a designer cannot accurately design an experience without having a strong understanding of the experience itself (Benz 2015, p.151). My first-­‐hand knowledge of seizures gave me incredible insight and understanding into the experience I wished to design. This significant understanding of the seizure event enabled me to replicate the seizure experience and journey through the art mediums I work with. Prof. Donald Getz describes an event as “an occurrence at a given place and time; a special set of circumstances; a noteworthy occurrence” (Richards, Marques, Mein 2014, p.1). These occurrences are not random, nor do they just occur, they are developed with thought and planned to weave content (the seizure event) into context (the multimedia installation), through the practice of experience design. Event Design practitioner Steve Brown defines event design as “the creation, conceptual development and design of an 12
event to maximize the positive and meaningful impact for the event’s audience and/or participants” (Richards, Marques, Mein, 2014, p.3). Though event design is directed towards events relating to users, consumers, companies, products, and so on, I find that once the term is deconstructed, the raw definition and conceptual foundations relate to my project via the seizure event. Once I had designed and created the art installation, I decided to take a functionalist approach when designing the artwork’s housing structure. The structure was built around the sound and video, adapting to the requirements of the installation (Image 1). If my final work were to be discussed in relation to architectural design aspects and concepts the discussion would lead to the idea of ‘form follows function’. This modern maxim was coined by the influential American architect Louis Sullivan (Richards, Marques, and Mein, 2014). There were several structural and functional factors that required careful consideration in the construction of the work. The aspects of design that generate experiences to purposely interrelate with the senses can be described on a generalised level as the discipline, sensorial design (Shedroff 2001, p.276). This can be experienced in the research project’s installation as it is created to manipulate and alter sensorial characteristics of a human being. Shedroff (2001) explains that the sense of vision is highly important and that it can be utilised by individuals for many reasons, including to guide, interact, and orientate. Visual design can communicate meaning in any approach that further shapes and builds upon appearance visually. For an experience to involve immersion it needs to stimulate the audience through their main senses, those being vision and hearing. In saying this, hearing is another important human sense. It is presented in a diverse variety of auditory forms ranging from speech and music, to sound effects and other various audible communications (Shedroff, 2001, p.284). 13
RELATIVE EXEMPLARS Depicting the experience of having a seizure in an artistic way is a process that involves the deconstruction of ideas and concepts to develop avenues to then research, reflect, and interpret through visual and experiential means. Sound and video are mediums used to portray consciousness impairment. The research question was assayed into four sections: ‘consciousness and epilepsy’, ‘evoking feelings or sensory change’, ‘emulation of an experience’, and ‘spatial and atmospheric manipulation’. In doing so, I sought artists whose works explore these categories. Epilepsy and Consciousness Myron Dyal is a U.S artist who suffers from epilepsy and seizures. His art depicts scenes from the visions he has during his seizures. When Dyal’s consciousness state is altered, he claims that he sees another world in front of his eyes (Image 2). This is the spiritual world that the audience sees in his paintings and sculptures. The broad spectrum of colour and visually psychedelic aspects make his artwork surreal and it literally paints a picture of what he experiences during his seizures (Image 3). Dyal’s connection with my work lies rather in his experiences with epilepsy, rather than his studio process and practice. Evoking Feelings and/or Sensory Change In this section, the focus remains on how an artist can evoke sensory manipulation in the audience. Collected research data and personal experiences with seizures have shown that there are many forms of epilepsy-­‐induced sensory changes, some of which are: disorientation, imbalance, loss-­‐of-­‐control, confusion, and disconnection. After identifying these sensory changes, I explored creative practitioners whose artist practice correlated with my own on some level. Imbalance, disorientation and loss-­‐of-­‐control can be seen in the work of Denmark based artist Pernille With Madsen. Using video, photography, drawing, and installation, she creates artistic ‘experiments’ that aim to induce aspects of disorientation, imbalance and spatial confusion (Image 4). Utilising 14
digital technology, like surround sound and motion imagery into my works, I build upon her art experiments creating a multimedia experience that drives that disorientating effect onto the audience. Emulation of an Experience This section centres on replication and the idea of creating a copy of an experience from beginning to end. In this case the experience is an epileptic seizure and the tools are video and sound. Recreating an experience that involves consciousness impairment is a challenge that involves stimulating the senses and aims at sensory manipulation. An example of this can be found in a replication of the experience created by the artwork Dead Symphony 2013, a sound artwork by Australia based artist Saskia Moore (Image 5). The work aims to recreate the sounds heard during near-­‐death experiences. To explore this, Moore interviewed individuals who have had near-­‐death experiences to explore what type of sounds they experienced. This sound and documentary artwork correlates with mine through purpose and practice. Spatial and Atmospheric Manipulation Atmospherics possess multiple layers and are active, not stagnant factors in art and design. Moreover, they occur universally on a somatic level. Whether an individual is aware of it or not, their atmosphere manipulates their disposition, movements, and intentions. The atmosphere in an individual’s present environment is constantly influencing them. New York teacher Jason Bennett explains that evolving sensory awareness is imperative so an individual can be completely stimulated by their surroundings (Schiffman, 2006). The artwork itself is only one factor influencing and impairing the audience’s consciousness. The space around the work can also be used to assist or even create other sensory changes in the audience. For instance, the deprivation of sight experienced when a person enters a dark room is also an experience of impaired consciousness. In this way, spatial manipulation could be used in conjunction with the artwork to create the seizure experience. Austrian artist Kurt Hentschlager’s 2008 installation ZEE was an immersive experience, created by extreme stroboscopic lights and thick artificial fog in a large room (Image 6). 15
With ZEE, Henschlager intended to manipulate the audience’s senses with feelings of spatial disorientation. It is this disorientation and altered spatial atmosphere that I aim to create with my artwork. Chapter Three STUDIO PRACTICE To me, an artist is the creator and the vessel for a creative vision. This vision has potential to transform into physical manifestation, be shared with the world, and interpreted by all who witness it. My creative vision is an artwork that can emulate an experience and impair an individual’s consciousness at the same time. Below is an analysis of how I achieved this in my studio practice. Video Being an artist is more than simply thinking of a conceptual idea and communicating it to the audience. It is about experimentation and continuous refinement of the artist’s practice. My studio work began earlier in the year after I purchased a high-­‐definition action camera and an accessory kit. Acquiring such camera accessories as: a head strap, chest strap, and tripod allowed experimentation with various camera angles and testing for visual effects resulting in the effect of consciousness manipulation. I filmed many different angles in my video experimentation, the most successful being the ‘first-­‐ person’ angle (Image 7). This angle places the audience in my shoes as they experience the seizure. It enables them to step into the mind of an uncontrolled epileptic and take a look through their eyes. The ‘first-­‐person’ angle helps to immerse the audience into the work as they assume the position of the individual experiencing the seizure. It connects with the concepts of my artwork on a deeper level, allowing the audience to see through an epileptic’s eyes. The angle also contributes to the journey of the seizure by creating a more visually immersive experience for the audience. 16
When entering the installation, there is instantaneous uncertainty in the audience regarding the time and place of the seizure’s occurrence. They will not receive clarity of this until they actually experience the digitally copied seizure event in the space. This is the same as an epileptic individual’s seizures in the sense of such unpredictability and randomness when they occur. Most seizures have a certain ‘trigger’ or ‘triggers’ and an epileptic’s spatial environment is one of the main determining factors surrounding the trigger of a seizure. For example, photosensitive epileptics would likely experience a stroboscopic trigger of some sort and would be wise to avoid environments with stroboscope lights. Ironically enough, this video artwork, that attempts to replicate a seizure, could be required to warn the audience, more specifically photosensitive epileptics of potential seizure activity being triggered. Metaphorically speaking, the trigger is the spark to the flame, with the flame representing the seizure event. It was my intention to visually communicate the trigger in the artwork. It is the cause to the seizure problem and stimulates the first epilepsy-­‐induced consciousness impairment. The question remained, how could I emulate this seizure trigger for the audience when they are experiencing the work? During the video-­‐editing process effects could be used to visually communicate this ‘digitally emulated trigger’. These effects would be selected from the software program and used in the first-­‐-­‐-­‐person footage and utilised during the aura and postictal stages of the seizure video. The chosen effects are applied at the specific time-­‐period when a seizure trigger may occur in a real life situation. Within the ‘first-­‐person’ aura stage of the two seizure video artworks the trigger is identified through noticeable effects such as bright flashing and quick shifts in distortion (Image 8). Utilising these type of effects for the trigger aspect of a seizure allows for a strong connection to be made between the digital effects and the concept of the digitally emulated trigger. The video depictions of the aura and postictal stages are purposefully simple, shot in first-­‐person with very little effects added to the footage itself. The ictus stage however contains multiple effects, with foundation footage of simple, black and white static. This occurs when there is no broadcast signal obtained by an antenna receiver resulting in a loss of transmission from the original source. 17
This loss of transmission between the broadcast signal and the antenna could be thought of as the loss of connection between consciousness and the brain when a seizure occurs. The static imagery in the ictus stage of the artwork represents the lack of human consciousness when seizure activity is triggered. The effects added to this static imagery are a symbolic visual depiction of the feelings felt during this type of seizure. This stage of the video is designed to communicate the same, or similar consciousness impairments experienced by epileptic individuals. As an epileptic is unconscious by this point, it is impossible to uncover what the individual feels through this stage. The visual stimulation of the ictus period in the video is made to provoke the feelings of the seizure experience as a whole (Image 9). The aura and postictal periods are created as a guide through the process, rather than inducing the feelings of seizure activity. SOUND Previous experience with producing sound art allowed me to dive right into the creative process and proceed with the audio production. I followed a very similar composition process to my undergraduate work Separated 2014 (Image 10), which successfully replicated feelings induced during a seizure. My Honours work Stimulation Simulation 2015, aims to do a similar thing, but focus on simulating each of the three phases (aura, ictus, and postictal) in order to emulate the seizure experience in its entirety. I have designed the sound composition in a way that enables it to mimic the seizure journey during each phase and manipulate the space and atmosphere surrounding the audience. Using unstructured, and unpredictable digitally produced musical arrangements and vocal recordings such as heavy breathing, choking, and convulsing, I recreate the experience in auditory form. These recordings are important to the installation, as they are an instant connection to the audience when they are hearing the sound artwork. This connection is made through the human voice, but more broadly, the human body. Using industry standard software such as ‘Logic Pro’, the musical arrangements are composed and recorded into the project file. Through a digital synthesizer plug-­‐in they are then assigned a preset to operate as the foundation for further sound design. (Image 11, 12) 18
There are many ways to produce sound art and an example would be US based sonic artist and experience designer Mileece. Though she uses Logic Pro, Mileece takes a different approach in her artwork’s sound production by employing coding techniques in her process using the music programming software ‘Super Collider’. Working with nature to make sound art, Mileece attaches small amplifiers to plants that, if amplified enough, will take the natural micro-­‐voltages produced and convert them into binary code. This binary code is then run through more written code transforming it to sound. She uses this sound to design experiences and create her environmental installations. Unlike Mileese, I am designing an experience using completely digital sounds. These sounds are the component that I rely on most for the design of the sensory experience and success of the installation. They set the spatial atmosphere and assist in the work creating the journey of consciousness impairment induced during the three stages of the seizure. The disorientating effects of the sound composition works hand-­‐in-­‐hand with the video artwork to potentially emulate consciousness impairment in the audience. This sound artwork is being produced as a non-­‐musical outcome because I wanted to veer away from the ‘musical’ aspects of sound and explore concepts of ‘noise’ similar to that of
the Japanese Noise music scene and Noisicians such as Merzbow (Brown, 2015). I began to develop the space to present the installation in, creating a structure that is site-­‐specific to the artwork itself. A speaker is placed in each corner of the rectangle-­‐shaped area and connected to a surround-­‐sound system continuously converting the sonic frequencies into 3D sound. The placement of the speakers is important as it determines what direction the different sounds in the composition come from in the installation space. HOUSING STRUCTURE The video and sound composition required some form of housing structure to successfully work in the replication of a seizure experience. This structure serves to cover, protect, and support the artwork when presented. The multimedia installation is heavily influenced by the surrounding space. Practice-­‐led research found that the architectural size, shape, and form of the selected display space alter the sound 19
composition. This alteration decreases the level of effect the composition has on the audience and changes the auditory levels and frequency quality of the 3D surround sound. To create the ideal structure, the design and construction were specifically suited to the requirements of the artwork. It is this functionalist approach that transformed the installation from an artwork that relied on an external surrounding space into a stand-­‐ alone ‘transportable site-­‐specific’ art piece. I coined this term earlier in the year with a vision of a new art medium. A medium that has site-­‐specificity, but allows an artwork to remain portable. The idea of an artwork that is site-­‐specific as well as transportable seems somewhat of an oxymoron. To bring them together into one term requires the audience to see the booth for what it has become, a ‘transportable room’. When entering the installation space, they are not entering a booth but a room built and designed around an artwork. The mobility of this room enables it to be moved anywhere and house the site-­‐specific multimedia installation perfectly. This feature of the work has a conceptual foundation as seizures can also be experienced anywhere. The form, shape, and materials of the transportable room has undergone over a dozen various design concepts before choosing the current structure (Image 13). Many aspects of the project influenced this decision, ranging from surround-­‐sound speaker placement within the structure, to the soundproofing of the transportable room itself. The audience enters the installation space realizing that it is not what it seems. Within the transportable room is a smaller area that surrounds them and instantly creates an uncomfortable atmosphere. Fabric hangs from either side of this inside area connecting to the ceiling. The fabric walls that surround the audience attach to the edges of the display screen, encapsulating them in a simple environment with no distractions. Building this second area within the structure also leads to uncertainty regarding the sound and the sound’s origin. As the audience cannot see the speakers, which are the origin of the sound, the simulated experience develops a level of confusion and curiosity. 20
THE ‘BUFFER ZONE’ Throughout the design and construction process, the interictal period remained conceptually untouched. How could I subtly integrate the rest of an epileptic’s life into the work without affecting the installation’s purpose? Before the audience enters the transportable room to experience my seizure replication, they will transition from their life into an epileptic’s life. Figuratively of course through what I call ‘the buffer zone’. Entrance through white fabric curtains into what appears to be some form of antechamber reveals the zone as a simple space with a conceptual purpose. Utilising white in the buffer zone contrasts the black used for the transportable room. This contrast symbolises the difference between the seizure period (aura, ictus, and postictal) and the interictal period (all other time). Upon deeper analysis, these two periods reveal that like site-­‐specificity and transportability, these periods are opposites. An example of this would be that epilepsy-­‐
induced consciousness impairment occurs within one period and not within the other. The buffer zone creates an environment that has no purpose for consciousness impairment. It represents the normality of an epileptic’s life and identity. It is the transitional area that the audience must walk through to enter the transportable room. It represents the time in an epileptic’s life that is not spent having seizures. This is the first stage in the process of audience interaction with the work. The buffer zone is where the audience chooses their seizure and remains safe until their departure from the experience back to their own life. 21
Chapter Four CRITICAL REFLECTION This research project has been a process and a journey, but most of all a learning experience. Due to the personal connection I have with this project every part has influenced different aspects of my identity. Whether it is provoking my interest in epilepsy as a condition, experimentation with my artist practice, furthering my skills in the mediums I work with, or the development of a deeper understanding of the disorder, I find myself changing as an individual. Taking on such a research project like this has been a fascinating progression in my knowledge of epilepsy. I think that this progression has been unique, as I have gathered my research and information through multiple avenues. These avenues included practice-­‐led studio work, qualitative and quantitative methods, relevant literature, and creative practitioners relating to the project. Delving into these different areas and developing a web of connections between them opened up a broader spectrum of material to study and involve in my project. The conceptual, physical, and visual development of the artwork was ever changing. All choices made during this process evolved my project in the right direction and steered it to a place of success. EVALUATION Looking back on different opinions, reactions, and interpretations of my work, the future of this project seems bright. I believe that my research will grow into something bigger than an Honours body of work, and possibly bigger than me as a researcher, an artist, or even as an epileptic. The project has potential to influence the epileptic community in such a way that inspires and/or influences fellow epileptics. It may also develop to a point where it creates empathy, sympathy, and awareness of epilepsy among all individuals. Though this project has changed throughout my Honours degree, I feel like this is only the tip of the iceberg. My body of work will continue to grow and morph into something that could reach people on a global scale. The work alters perceptions of epilepsy and offers an opportunity to learn and understand epilepsy from an artistic approach. 22
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CONCLUSION It is this idea of developing an alternative understanding of a seizure for non-­‐epileptic individuals that creates the foundation of the entire project. Everything is built conceptually around the research question and as the year progressed I felt like I was getting closer and closer to answering it. Applying my artistic practice, which already lies in the digital realm, I was able to produce a work that gives the audience an experience that they will potentially never forget. This experience is a chance for the audience to step into the shoes of somebody who deals with this condition, offering the possibility to mentally and physically fathom what an individual deals with when suffering this type of seizure. 23
Reference List Abc.net.au. 2013. 'Saskia Moore's Dead Symphony -­‐ Watch -­‐ ABC Arts | Australian Contemporary Art And Culture Reviews, News & Videos'. http://www.abc.net.au/arts/stories/s3820420.htm. Benz, Peter. 2015. Experience design: concepts and case studies. New York;London;: Bloomsbury Academic. Brown, Shelina. 2015. "Japanoise: Music at the Edge of Circulation." Music Library Association. Notes 71 (3):512-­‐514. Pictures, Bicephaly. 2013. 'Wilder Quarterly // Mileece At Moma'. Vimeo. https://vimeo.com/60769517. Planet Mu Records. 2015. 'Mileece'. http://www.planet.mu/artists/Mileece. Richards, Greg, Lénia Marques, Karen Mein, and Corporation Ebooks. 2014. Event design: social perspectives and practices. Hoboken: Taylor and Francis. Schiffman, Jean. 2006. "Creating Atmospheres." Back Stage East 47 (28):9-­‐9,35. Shedroff, Nathan. 2001. Experience design 1. Indianapolis, Ind: New Riders Pub. Susanneottesen.dk,. 2015. 'SUSANNE OTTESEN: ARTISTS: Pernille With Madsen Texts'. http://www.susanneottesen.dk/artists/texts/69/26. Weisberg, L.A, Garcia C. Strub, R. "Essentials of Clinical Neurology: Seizures and Epilepsy. "http://tulane.edu/som/departments/neurology/programs/clerkship/upload/wch11-­‐ 2.pdf. YouTube. 2015. 'Anthony Peake Consciousness Hour: Artist And Author Myron Dyal'. https://www.youtube.com/watch?v=JGYSH6nOqnA. YouTube. 2015. 'Meet The Sonic Artist Making Music With Plants: Sound Builders'. https://www.youtube.com/watch?v=wYU18eiiFt4. 24
Image Reference List Dyal, Myron. The Eyes In The Hands To The Family of Love, oil on canvas, artist’s own collection, http://www.myrondyal.com/#!__gallery/paintings/albumphotos76=16 Dyal, Myron. The Snow Bird, oil on canvas, artist’s own collection, http://www.myrondyal.com/#!__gallery/paintings/albumphotos77=8 Hentschlager. Kurt. ZEE 2008, art installation, http://www.kurthentschlager.com/portfolio/zee/zee.html Moore, Saskia. Dead Symphony 2013, documentary/sound art, The Arts Centre, Melbourne, http://www.abc.net.au/arts/stories/s3820420.htm Packshaw, Jack, Blueprints of ideas/concepts, Stimulation Simulation 2015 Packshaw, Jack, Official blueprint, Stimulation Simulation 2015, artist’s own collection. Packshaw, Jack. Separated 2014, multimedia installation, artist’s own collection, The Arts Centre Gold Coast, Gold Coast
Packshaw, Jack. Stimulation Simulation 2015, multimedia installation, artist’s own collection, The Arts Centre Gold Coast, Gold Coast Packshaw, Jack. Stimulation Simulation 2015, multimedia installation, artist’s own collection, The Arts Centre Gold Coast, Gold Coast Packshaw, Jack. Stimulation Simulation 2015, multimedia installation, artist’s own collection, The Arts Centre Gold Coast, Gold Coast Packshaw, Jack, sound composition process, Stimulation Simulation 2015 Packshaw, Jack, sound composition in Logic Pro, Stimulation Simulation 2015 With Madsen, Pernille. Tidsmaskine 2010, art installation, Galleri Susanne Ottesen, Denmark, http://www.kunsten.nu/artikler/artikel.php?ugens+kunstner+pernille+with+mads
en&mode=images&imageId=18156 25
Bibliography Abc.net.au. 2013. 'Saskia Moore's Dead Symphony -­‐ Watch -­‐ ABC Arts | Australian Contemporary Art And Culture Reviews, News & Videos'. http://www.abc.net.au/arts/stories/s3820420.htm. Alvarez-­‐-­‐-­‐Rodriguez, Javier, Iria Alvarez-­‐-­‐-­‐Silva, and Sergio Alvarez-­‐-­‐-­‐Silva. 2013. "Commentary – Consciousness and aura: Two controversial concepts on epilepsy." Epilepsia 54 (6):1130-­‐1132. doi: 10.1111/epi.12171. Ascott, Roy. 2005. Engineering Nature : Art and Consciousness in the Post-­‐Biological Era. Bristol, GBR: Intellect Ltd. Ascott, Roy. 1999. Reframing Consciousness. Bristol, GBR: Intellect Ltd. Ascott, Roy. 2003. Telematic Embrace : Visionary Theories of Art, Technology, and Consciousness. Berkeley, CA, USA: University of California Press. Austin, James H. 1998. Zen & the Brain: Toward an Understand of Meditation & Consciousness. Cambridge, MA, USA: MIT Press. Bachem, A. 1949. "A new auditory-­‐visual synesthesia." Acta Psychologica 6 (0):363-­‐364. doi: http://dx.doi.org/10.1016/0001-­‐6918(49)90016-­‐5. Barrera, Taurin. 2014. "Digital Synesthesia: Exploring Interactive Electroacoustic Environments." 1557391 M.F.A., Mills College. Bassie, Ashley. 2012. Art of Century: Expressionism: Parkstone International. Benz, Peter. 2015. Experience design: concepts and case studies. New York;London;: Bloomsbury Academic. Blumenfeld, Hal. 2011. "Epilepsy and the Consciousness System: Transient Vegetative State?" Neurologic clinics 29 (4):801-­‐823. Brown, Shelina. 2015. "Japanoise: Music at the Edge of Circulation." Music Library Association. Notes 71 (3):512-­‐514. Farnell, Andy. 2010. Designing Sound. Cambridge, MA, USA: MIT Press. Girão, Luis Miguel. 2008. "Audiovisual Study for Bodies in a Sensory Space – III." Digital Creativity 19 (3):212-­‐213. doi: 10.1080/14626260802312657
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Kurthentschlager.com. 2015. 'Kurt Hentschlager'. http://www.kurthentschlager.com/portfolio/zee/zee.html. Kwon, Miwon. 1997. "One Place after Another: Notes on Site Specificity." October Vol. 80.:pp. 85-­‐110. Lenggenhager, Bigna, Michael Mouthon, and Olaf Blanke. 2009. "Spatial aspects of bodily self-­‐consciousness." Consciousness and cognition 18 (1):110-­‐117. Morrow, Fiona, and Morrow Fiona. 2009. "AUDIO INSTALLATION EXPLORING SOUND." Globe and mail:R1. Nasar, Jack L., Arthur E. Stamps Iii, and Kazunori Hanyu. 2005. "Form and function in public buildings." Journal of Environmental Psychology 25 (2):159-­‐165. doi: http://dx.doi.org/10.1016/j.jenvp.2005.03.004. Payne, Pam. 2013. "A Video Mnemonic: Consciousness Research through Creative Practice." Technoetic arts : a journal of speculative research 11 (2):163. Pictures, Bicephaly. 2013. 'Wilder Quarterly // Mileece At Moma'. Vimeo. https://vimeo.com/60769517. Planet Mu Records. 2015. 'Mileece'. http://www.planet.mu/artists/Mileece. Richards, Greg, Lénia Marques, Karen Mein, and Corporation Ebooks. 2014. Event design: social perspectives and practices. Hoboken: Taylor and Francis. Shedroff, Nathan. 2001. Experience design 1. Indianapolis, Ind: New Riders Pub. Schiffman, Jean. 2006. "Creating Atmospheres." Back Stage East 47 (28):9-­‐9,35. Siler, Scott. 2013. "Max Neuhaus in context." Dissertation/Thesis, ProQuest Dissertations Publishing. Stafford, Barbara Maria. 2006. "Working minds *." Perspectives in Biology and Medicine, 2006 Winter, 131+. Steinfeld, Edward, Jordana Maisel, and Inc ebrary. 2012. Universal design: creating inclusive environments. Vol. 1. Aufl.;1;. Hoboken: John Wiley & Sons, Inc. Susanneottesen.dk,. 2015. 'SUSANNE OTTESEN: ARTISTS: Pernille With Madsen Texts'. http://www.susanneottesen.dk/artists/texts/69/26. 27
Vidler, Anthony, Michel Foucault, and Pamela Johnston. 2014. "Heterotopias." AA Files (69):18-­‐22. doi: 10.2307/43202545. Voegelin, Salome. 2010. Listening to Noise and Silence : Toward a Philosophy of Sound Art. London, GBR: Continuum International Publishing. Weisberg, L.A, Garcia C. Strub, R. "Essentials of Clinical Neurology: Seizures and Epilepsy. "http://tulane.edu/som/departments/neurology/programs/clerkship/upload/wch11-­‐ 2.pdf. YouTube. 2015. 'Anthony Peake Consciousness Hour: Artist And Author Myron Dyal'. https://www.youtube.com/watch?v=JGYSH6nOqnA. YouTube. 2015. 'Meet The Sonic Artist Making Music With Plants: Sound Builders'. https://www.youtube.com/watch?v=wYU18eiiFt4. Zeman, Adam. 2001. Consciousness. Vol. 124. Journal Article. 28
Image List Image 1) Official blueprint for Stimulation Simulation 2015 29
Image 2) Myron Dyal, The Snow Bird. Image 3) Myron Dyal. The Eyes In The Hands To The Family of Love. 30
Image 4) Pernille With Madsen,. Tidsmaskine 2010,. Image 5) Saskia Moore. Dead Symphony 2013, 31
Image 6) Kurt Hentschlager, ZEE, 2008. 32
Image 7) Jack Packshaw. Stimulation Simulation 2015 Image 8) Jack Packshaw, Stimulation Simulation 2015 Jack Packshaw 12/11/15 3:38 PM
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Jack Packshaw 12/11/15 3:38 PM
Deleted: . Jack Packshaw 12/11/15 3:12 PM
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I m a g e 9) Jack Packshaw Stimulation Simulation 2015
34
Image 10) Jack Packshaw. Separated 2014
35
Image 11) Screenshot of composition process for Stimulation Simulation 2015 Image 12) Screenshot of composition for Stimulation Simulation 2015 36
Image 13) Blueprints of ideas/concepts for Stimulation Simulation 2015 structure 37
Appendices Jack Packshaw 12/11/15 3:24 PM
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TITLE OF PROJECT
‘Understanding consciousness impairment during seizures: An artistic approach’
INFORMATION SHEET
Principal Supervisor
Dr Laini Burton QCA
l.burton@griffith.edu.au
Student Investigator
Jack Packshaw
QCA
Honours Study
0425 359 292
jack.packshaw@griffithuni.edu.au
Why is the research being conducted?
This research is being conducted to further the investigator in the exploration of consciousness impairment during seizures in epileptic individuals. It
aims to gather information of an epileptic’s experience during their seizures. This information could range from sensory change, to hallucinations or
visions. All of the findings will be examined, analysed and reflected upon by the investigator only.
What you will be asked to do:
Volunteer epileptic participants will be asked to complete an online questionnaire with information regarding their epilepsy and experiences
surrounding their epileptic seizures.
The basis by which participants will be selected or screened:
Social media and online epilepsy community forums have been the method of sourcing the epileptic participants. Facebook allows for access to
epilepsy groups like ‘Epilepsy ChitChat’ and ‘Epilepsy Support Group’. These groups are an excellent way to gather epileptic volunteers for the
questionnaires being used in this specific research project.
The expected benefits of the research:
This research will be beneficial because it is qualitative information that can be reflected upon and used to compare & contrast with the investigator’s
personal experiences with seizures. The research could also lead to other areas that have not yet been considered by the investigator.
38
Your confidentiality:
No data will be published that identifies an individual participation. Your anonymity will be respected and the data will be analysed by the investigator
only.
Your participation is voluntary:
Participation in this study is purely voluntary. This study will in no way be used to support any course, program or school of Griffith University. Any
potential participant, if a staff member or student of Griffith University is advised that this study will in no way impact on your relationship with
Griffith University. Potential participants are free to withdraw from the study at any time.
Questions / further information:
The researcher, Jack Packshaw can be contacted via e-mail at
jack.packshaw@griffithuni.edu.au at any time for further information
The ethical conduct of this research
Griffith University conducts research in accordance with the National Statement on Ethical Conduct in Human Research. If potential participants
have any concerns or complaints about the ethical conduct of the research project they should contact the Manager, Research Ethics on 3735 5585 or
research-ethics@griffith.edu.au.
Feedback to you
You can elect to be sent an e-mail following data collection and evaluation, informing you of the conclusion of the project. A brief summation of
findings will be made available.
Privacy Statement
The conduct of this research involves the collection, access and/or use of your personal
information. You will remain anonymous and the information collected is confidential and
will not be disclosed to third parties without your consent, except to meet government, legal
or other regulatory authority requirements. A de-identified copy of this data may be used for
other research purposes. However, your anonymity will at all times be safeguarded. For
further information consult the University’s Privacy Plan at http://www.griffith.edu.au/aboutgriffith/plans-publications/griffith-university-privacy-plan or telephone (07) 3735 5585.
39
‘Understanding consciousness impairment during
artistic approach’
seizures:
An
RESEARCH STUDY CONSENT FORM
Principal Supervisor
Dr Laini Burton
QCA
l.burton@griffith.edu.au
Student Investigator
Jack Packshaw
QCA Honours Study
0425 359 292
jack.packshaw@griffithuni.edu.au
By signing below, I confirm that I have read and understood the information package and
in particular have noted that:
I understand that my involvement in this research will include a one-page
questionnaire to complete
I have had any questions answered to my satisfaction;
I understand that there will be no direct benefit to me from my participation in this
research
I understand that my participation in this research is voluntary
I understand that if I have any additional questions I can contact the researcher;
I understand that I am free to withdraw from the study, at any time, without comment
or penalty;
I understand that I can contact the Manager, Research Ethics, at Griffith University
Human
Research
Ethics
Committee
on
3735
5585
(or
researchethics@griffith.edu.au) if I have any concerns about the ethical conduct of the project;
and
I agree to participate in the project.
By beginning this questionnaire it is assumed that you understand and consent to all
these conditions and agree to participate in the project voluntarily.
40
Epilepsy Experience Questionnaire Jack Packshaw 12/11/15 3:26 PM
Deleted: This is a Questionnaire for an Honours Research Study exploring people’s experiences of having an epileptic seizure. We are interested in all aspects of your experience. This might include physical, sensory, emotional or consciousness changes. All findings will be kept anonymous and confidential. Jack Packshaw 12/11/15 3:26 PM
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Question 1) What is your age? 18-­‐30 …… 30-­‐45 …… 45+ ……… Question 2) Are you a male or female? [
] Male [ ] Female Question 3) What type of epilepsy do you suffer from? ……… Question 4) Do you experience warning signs (e.g. an aura) before your seizure? Place an ‘X’ next to one of the below. [ ] Always àà Go to Q5. [ ] Sometimes àà Go to Q5. [ ] Never àà Go to Q6. Question 5) How would you describe the early signs before your seizures? Question 6) Do you lose complete consciousness during a seizure? Place an ‘X’ next to one of the below. [ ] Always àà Go to Q8. [ ] Sometimes àà Go to Q7. [ ] Never àà Go to Q7. Question 7) How would you describe your experience during a seizure? 41
Question 8) What do you experience after a seizure? Question 9) Do you ever experience any sort of hallucinations or visions during your seizure? [ ] Always àà Go to Q10. [ ] Sometimes àà Go to Q10. [
] Never Jack Packshaw 12/11/15 3:26 PM
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spacing: exactly 13.7 pt
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Question 10) How would you describe these hallucinations and/or visions? Question 11) What you see below is a list of sensory impairments. Mark an ‘X’ next to the impairments that you experience during your seizure. BEFORE SEIZURE [ [ [ [ [ [ [ [ [ ] Distance ] Disconnection ] Unfamiliarity of surroundings ] Confusion ] Disorientation ] Memory Loss ] Loss of balance ] Anxiety ] Urge to be ‘alone’ and ‘safe’ Please list any other symptoms that you have had before a seizure: DURING SEIZURE [ [ [ [ [ [ ] Disorientation ] ‘Not-­‐in-­‐control’ ] A constant ‘battle’ with the seizure itself. [
] Loss of balance ] Disconnection ] Unfamiliarity of surroundings ] Distance Please list any other symptoms that you have had before a seizure: Jack Packshaw 12/11/15 3:27 PM
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42
AFTER SEIZURE [ ] Vague visions [ ] Swirling downwards [ ] Multiple figure entities getting closer [ ] Tiredness and exhaustion [ ] Disconnection [ ] Disorientation [ ] Confusion [ ] Anxiety [ ] Fear [ ] Headaches Jack Packshaw 12/11/15 3:25 PM
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Jack Packshaw 12/11/15 3:25 PM
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-0.04 cm
Please list any other symptoms that you have had before a seizure: Question 12) Is there anything else you would like to add about your experience of an epileptic seizure, or your journey as epileptic? Thank you for participating in my study, your time and energy was appreciated. All the information you have provided will remain anonymous and confidential. 43
Jack Packshaw 12/11/15 3:24 PM
Deleted: Voegelin, Salome. 2010. Listening to Noise and Silence : Toward a Philosophy of Sound Art.
Jack Packshaw 12/11/15 3:24 PM
Deleted: London, GBR: Continuum International Publishing.
Jack Packshaw 12/11/15 3:24 PM
Deleted: Weisberg, L.A, Garcia C. Strub, R. "Essentials of Clinical Neurology: Seizures and Epilepsy. "http://tulane.edu/som/departments/neurology
/programs/clerkship/upload/wch11-­‐-­‐-­‐
Jack Packshaw 12/11/15 3:24 PM
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