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25 APRIL 2015

Supersymmetry: a immersive aesthetic experience by Ryoji Ikeda

"Supersymmetry attempts to transform the complexity of quantum information theory into an immersive aesthetic experience, meshing sound, visual data and high-speed light displays. The show pairs two inter-related installations. As you step into the cavernous, pitch-black space at the top of Brewer Street Car Park in Soho, you're confronted by [experiment]. Three 1m x 1m light boxes, glowing white, skitter and whoosh with tiny ball bearings, forming unique and unpredictable patterns. It's a disorientating experience, leaving you feeling adrift in such a frenetic space, with red lasers constantly scanning the surface movements.

As you step through the curtain into the next space, [experience], you're plunged into the middle of two 20m-long screens, blinking with forty monitors, all displaying how the previous room's data has been analysed and translated. The synchronized monitors pulse with high-speed analyses and typed text, while the electronic soundscape -- a symphony of bleeps, buzzes and droning hums -- adds to the charged atmosphere. The overall effect, as you glance at the mutating text and the rapid-fire bombardment of data, is both hypnotic and hallucinatory, and yet there's also something strangely oppressive about being caught in this endless loop of sound and information."

(Daniel Culpan, 23 April 2015, Wired)

"Supersymmetry" by Ryoji Ikeda, 2015. The exhibition runs at The Vinyl Factory Space at Brewer Street Car Park, London, W1F 0LA, until 31 May 2015.

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TAGS

2015aesthetic experienceart and scienceart exhibitionartist in residence • artistic response • austere ambienceball bearings • beeps • bleeps • buzzes • CERN • charged atmosphere • complexity • dark space • disorientating experience • droning • electronic soundscape • emotionally empty art • endless loop • hallucinatory • Higgs boson • humming • hyper-sensory experience • hypnoticimmersive aesthetic experience • Japanese artist • Japanese visual artist • Large Hadron Collider • light installationlight pulseslightboxmodernist aesthetics • multistorey building • particle accelerator • particle research • physics • quantum information theory • Ryoji Ikeda • sound and imagestrobing • Supersymmetry (2015) • symmetry • The Vinyl Factory • unique patterns • unpredictable patterns • visual artistvisual representations of scientific conceptsvisual spectacular • whooshes • Wired (magazine)

CONTRIBUTOR

Simon Perkins
27 OCTOBER 2012

Erving Goffman: backstage and frontstage behaviour

"Throughout our society there tends to be one informal or backstage language of behaviour, and another language of behaviour for occasions when a performance is being presented. The backstage language consists of reciprocal first–naming, co–operative decision–making, profanity, open sexual remarks, elaborate griping, smoking, rough informal dress, ' sloppy' sitting and standing posture, use of dialect or sub–standard speech, mumbling and shouting, playful aggressivity and 'kidding,' inconsiderateness for the other in minor but potentially symbolic acts, minor physical self–involvements such as humming, whistling, chewing, nibbling, belching, and flatulence. The frontstage behaviour language can be taken as the absence (and in some sense the opposite) of this. In general, then, backstage conduct is one which allows minor acts which might easily be taken as symbolic of intimacy and disrespect for others present and for the region, while front region conduct is one which disallows such potentially offensive behaviour." [1]

(Erving Goffman, 1959, p.78)

[1] It may be noted that backstage behaviour has what psychologists might call a 'regressive' character. The question, of course, is whether a backstage gives individuals an opportunity to regress or whether regression, in the clinical sense, is backstage conduct invoked on inappropriate occasions for motives that are not socially approved.

Goffman, E. (1959). "The Presentation of Self in Everyday Life", University of Edinburgh Social Sciences Research Centre.

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1959 • appropriated metaphor • backstage • backstage behaviour • backstage conduct • backstage language • belching • chewing • co-operative decision-making • cooperative decision-making • cultural beliefs • cultural normscultural valuesdecision makingdialectdisrespectdisrespect for others • dramatism • dramaturgical analysis • dramaturgical sociology • dramaturgy • dramaturgy (sociology) • elaborate griping • Erving Goffmaneveryday lifeflatulence • front region conduct • frontstage behaviour language • human interactionshummingidentity performance • inconsiderateness • informal behaviour • informal language • Kenneth Burke • kidding • language of behaviour • microsociological accounts • minor acts • minor physical self-involvements • mumbling • nibbling • offensive behaviour • open sexual remarks • playful aggressivity • profanity • reciprocal first-naming • regression • regressive character • rough informal dress • shouting • sloppiness • sloppy sitting • smokingsocial behavioursocial interaction • social occasion • sociological perspective • standing posture • study of social interaction • sub-standard speech • symbolic acts • symbolic behavioursymbolic interactionism • symbolic of intimacy • theatrical metaphor • theatrical performance • whistling

CONTRIBUTOR

Barbara Adkins
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