post timings/scouring web

March 20th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 5:21 am

Tina Gonsalves
12:23 PM
hi evan are you understanding it ok, or do you need a hand?
Evan Raskob
1:34 PM
hi tina
Tina Gonsalves
1:34 PM
hey evan
1:34 PM

did you get the file
1:34 PM

Evan Raskob
1:34 PM
did you just send me a message or was that from before?
1:34 PM

yes, got your emails + files
Tina Gonsalves
1:34 PM
that was from before, do you understand everything?
Evan Raskob
1:35 PM
i think so – i will have another go at it tomorrow
Tina Gonsalves
1:36 PM
ok. let me know if you need any help at all, any clarity
Evan Raskob
1:36 PM
to clarify – for tuesday, the best case would be a 16-person emo contagion version, but the simplest would be the 2-person version form before, but with working algorythms
1:36 PM

Tina Gonsalves
1:37 PM
ok. to get the 16 person one working would be fantastic – the two person one is also fine. did you have a look at the grabbing text from the web at all – is that difficutl?
Evan Raskob
1:38 PM
grabbing text from the web is too ambitious for tuesday, i think
Tina Gonsalves
1:38 PM
thats fine.
1:38 PM

is it difficult to do?
Evan Raskob
1:39 PM
i looked at the sites, but there wasn’t a lot o good “emotional” text – and google searches would probably not be diverse enough
Tina Gonsalves
1:39 PM
mmm. do you know where else I should search?
Evan Raskob
1:39 PM
chat rooms, i think
Tina Gonsalves
1:40 PM
any particular ones?
Evan Raskob
1:41 PM
comments on blogs like those for the new york times:
1:42 PM

(each one has comments attached to it)
1:42 PM

there are lots of specific chatrooms – really, just have to pick a topic (computer software, dating, etc)
Tina Gonsalves
1:42 PM
i think relationships
1:42 PM

people relationships
Evan Raskob
1:42 PM
maybe (the message boards)
Tina Gonsalves
1:43 PM
mmm. ok will check them out.

post touch. touch/sound feedback.

March 20th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 5:04 am

testing out touch. creating a real time ‘tamagochi’ shot content today – will finish thursday. if you touch the screen too harshly he ends up crying. should be intergrated into final system – allowing participant to be close to screen, therefore the cameras don’t have to be that spontaneous.



two camera shoot of pablo, rice studio. banff

pablo – expression – The fact that neonates engage in the ‘invisible imitation’ of others’ facialexpressions is taken, quite plausibly in my view, as evidence for a number of things: that thenewborn’s experience is not a ‘blooming, buzzing confusion’ as the traditional empiricist view hasit; that the body schema is evident from birth; and that there is an innate intermodal perceptualcapacity allowing the infant to ‘translate’ what it sees into a proprioceptive awareness of therelevant body parts – imitation involving generating a match between proprioceptive awareness and what is seen in the behaviour of the other.

post interactive model notes:

March 20th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 4:57 am

mostly when we enter gallery space our expression is quite blank. – how to probe expression in the first place? What causes a reaction? With the shoot – creating anxieties – creating spacial dynamic. – person walking forward from darkenss into frame. – sense of confrontation. sense of social responsibility. if someone says hello to you, you are sort of obliged to say hello back. creating collective awareness. how much control does the viewer have?

important – room for contemplation. most interaction is too active. slow discovery.

problems with making emotions into templates – they are so complex and leaky – anger mixes with sadness. What level of standardisation is appropriate? Models of emotion

aesthetic – the ultimate goal is to make the technology disappear, that the technology should be transparent and invisible to the user. In its perfect form, the technology should stand outside data content so that the user may be completely absorbed in the subject matter – interactions are natural and intuitive –

Marshall McLuhan called media ‘the extensions of man.’ – rooted in the language of the senses; it is what McLuhan called an “uttering [or] (outering) of all our senses at once”

issues of engagement: depends on how the spectator experiences the emotional dynamics between the characters – changes expression shift the narratives. speaking in first-person? addressing viewer – implicating viewer – creating a a palpable transformation in the viewer – a physiological change – proprioceptive awareness – emphasizing our corporeal rather than our intellectual engagements – challenge to the mind/body split by demonstrating that the process of “making sense” requires an irreducible collaboration between our thoughts and our senses.- Carnal Thoughts: Embodiment and Moving Image Culture (Paperback) by Vivian Sobchack (Author)

early biofeedback works –

creating an adaptive interactive model with plasticity – Helen writes : I’d like to steer you towards agile development techniques of interaction.That way the interactive system can be adaptive (we’d need to talk more about this – mentioned it to Chris at the interview and he was interested). It would be good to know what Ros and Rana think.

How the Body Shapes the MindBy Shaun GallagherOxford: Oxford University Press, 2005. pp. 284.

phantom limbs? gesture and language?
the explanation of schizophrenia, free will

danger of suffering a heart attack if overstimulated, dislodge us from our state of numbness and give us a new language

Touch: Sensuous Theory and Multisensory Media (Paperback)
by Laura U. Marks (Author)

post reading/looking

March 17th, 2008

Bas Jan Ader/ I am too sad to tell you.


I’m Too Sad To Tell You (1971) is a three minute and twenty one second video of the artist, Bas Jan Ader, inexplicably crying. The fact that we’re not told why he’s crying puts our own reaction to the work on very shaky ground. Generally, it’s the audience that’s supposed to weep in front of artworks, not the other way around.
Bas Jan Ader practiced a romantic kind of conceptual art which involved ideas of falling, failure, sadness, and the sublime, among other things. His last project, part of a three part work entitled In Search Of The Miraculous, involved a sailboat trip from Cape Cod to England in July of 1975. He lost radio contact three weeks into the trip and wasn’t heard from again. Less than a year later his body was found off the coast of Ireland.
I’m Too Sad To Tell You is part of an exhibition of currently showing at Perry Rubinstein Gallery in New York. It’s up through the 22nd of December.

Legend of the fall – photographer Bas Jan Ader
ArtForum, March, 1999 by Bruce Hainley

The artist is crying and too sad to tell anyone why. A postcard with the dated note – “Sept. 13 1970. I’m too sad to tell you.” – shows Bas Jan Ader racked by tears. Whatever caused the tears to flow (the artist never publicly stated the reason) is ultimately beside the point. And yet Ader reenacted his private sadness, restaged it, photographed it to mail to others. While his piece retains a “real” sadness, it keeps vital the artifice and melodrama inherent in placing himself before his own camera while crying. Almost all of Ader’s work pulsates with a crisis of some personal intensity. His sincerity is sincere – until it’s not only sincere. Certainly connections exist between the postcard’s sad note and the ominous and purely theatrical qualities of some of his early, simple wall texts (“Please don’t leave me”; “Thoughts unsaid then forgotten”) and carefully chosen titles, like Farewell to Faraway Friends, a photograph of a lone Ader standing on the coast, framed by the setting sun on the horizon – a photo whose sincerity is toyed with by the kitschy, touristy “sunset” colors. To look at this another way, consider for a moment: If I told you that during the month I’ve been thinking about Ader I cried several times, and that I’m crying right now, would you buy it?

Ingres’s Comtesse d’Haussonville





19th century neurologist who worked with electricity to stimulate/simulate emotion. Also published a collection of photographs (new technology at the time) where he created a database of images documenting his electrical experiments on the facial muscles and the emotional states it rendered.

Gary Hill – Tall Ships



Acconci’s interest have been persistently psychological and interactive. Pushes viewers mentally and sometimes physically into situations they might preferably avoid. face to face with primal emotions/childhood memories – either his own or theirs. Initially personal to the point of exhibitionism, his early work often exposed his body and his innermost thoughts – a kind of stream-of-consciousness monologue. an artist more interested in process than the final product. creates a laboratory full of apparatuses that test one’s tolerance for varying degrees of confinement and action, for intimacy with oneself or the artist.

Vito Acconci – Three Relationship Studies, Vito Acconci, video still, courtesy Electronic Arts Intermix


Intensely personal, the films document a range of physical and psychological explorations of the self in relation to others, ones own body, and the film/video camera.


Vito Acconci, Gargle/Spit Piece 1970, 3 min, color, silent, Super 8 film

The artist, sitting naked, takes water from a pot into his mouth and gargles; he spits it out onto his stomach and groin, transferring the water from one “container” (the pot) to another (his body).

Face to Face Vito Acconci 1972, 15 min, color, silent, Super 8 film


In this exercise in nonverbal communication, Acconci explores facial expressions, and their psychological resonance, as a mode of performance narrative.

Abramovic, Marina; Ulay


In a given space
We kneel, face to face. Our faces are lit by two strong lamps. Alternately, we slap each other’s face until one of us stops

“Trying to make theatre out of a kind of performance art that involves testing the limits of physical and men tal resistance raises special problems. One of Abramovic’s most famous performances is Light/Dark, in which she and Ulay slapped each others’ faces, increasing in speed till they could go no faster. Laub decided to “serialise” it by using several couples. “The difference between performance art and, say, repertory theatre, is that when Marina and Ulay decided to do something as strictly physical as slapping each other in the face for 20 minutes, they didn’t really care if they ended up in hospital the next day, because they were very committed and they didn’t have to reproduce the piece,” he said. “It’s sort of hard as a director to ask these young people to rehearse that.” He had managed, he said, “by apologising a lot”. And maintaining a stock of ice packs. A book on the making of The Biography Remix includes a photograph of one performer on her back at the end of a rehearsal with ice packs on one knee and the side of her face.”

Marina Abramovic & Ulay. Imponderabilia, 1977


Marina y Ulay. Performance “El grito”
Imagen de video


A scene from The Biography Remix by Marina Abramovic


Bruce Nauman’s installation of three fountain sculptures


b from Studies for Holograms (a-e) (1970)

post notes from natacha

March 16th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 1:19 pm

hi Tina,
here is a new E mail,perhaps quicker

+ as promised 2 projects that are developed in Le Cube art 3000 Paris
involving facial expression and emotions, this is quite a speciality there u
should contact them the president is Florent Aziosmanof.

the projects are


post scouring the web

March 16th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 1:18 pm

Aha, that sounds very doable.


On Mar 12, 2008, at 4:37 PM, tina gonsalves wrote:

Actually, more simple – just looking for text from chats that say the word “I feel angry” for example. So just scrawling for text and then transposing that text on the image (one of the faces).

tina gonsalves

On 12/03/2008, at 10:29 AM, Evan Raskob wrote:

Hi Tina,

On Mar 11, 2008, at 4:52 PM, tina gonsalves wrote:

HI Evan

Well, I will keep my laptop handy in the studio for Thursday if you come on Scype – let me know your scype address/

My skype name is evan_raskob

Just quickly – I want to find some software (that may already exist) that scours the web/chat programs/blogs about emotions for statement about different emotional states. For example, as the male figure below becomes sad, some statement about his sadness is grabbed from the web and displayed. When the woman becomes sad, some statement is grabbed from the web and displayed.

Do you mean, by searching something like google images to get a list of web addresses with images, than analysing pictures of what it finds and looking for human faces and emotions? Or, downloading a series of podcasts (like ) and searching through them for images of “sad” people (or another specific emotion) and then making something out of that collection of images (a collage? conversation?) Am I understanding this right?

I will see if I can catch you on skype tomorrow.


Do you know how we could go about this? Is it difficult? Can you do it?



Fourth Stage Looking at emotional contagion and how it works in social groups – the propagation of emotions (making the algorithms of stage 3 more complex and networked) – there are a lot more images for each portrait to deal with as well (see below)

tina gonsalves

post mock up. stage one

March 16th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 12:20 pm







post The studio

March 16th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 12:06 pm

its been a busy few days in the television studio. I have two set ups – one for individual shoots and one for group shoots. I have four HDV cameras, and a nikon D300 for stills. The lighting is simple – black background. More theatrical lights – bringing up lines in face. sort of chiaroscuro – lightness/darkness. I am not changing it for each person. I don’t want lighting people on the set.

I have kept the studio quiet – just myself managing the cameras. Its an intimate shoot, it feels private – so, I feel to get the best response from people and to let them feel as comfortable as possible, its best to keep the studio quiet, calm and intimate. – I am inviting people into the studio to act out six different emotions. I am doing it in a range of ways, shifting the shoot depending on what people are willing give. Its taken a while to get comfortable asking people to evoke emotions. Its been exhausting, because it feels so personal. I have sourced some of the artists around campus, some of the actors, some of the workers. Its been a varied response, ranging from deep deep crying for half an hour to more laughter and very light expression. Its been hard to watch people cry and stand over the other side of the camera documenting it. For some, sadness has been very close the surface, and recent events of loss making sadness the easiest to access.


setting up the studio

pablo sleeping in the studio



I am shooting in a range of ways – first of all just stills – very quickly expressing what people see the different emotions to be, then video – with the video I am asking the participants to either express different emotions on their face, or talk to the camera about those emotions, for example, reliving an emotional experience, or imagining it. I am asking them to talk to the camera as if the camera was the person they want to argue with, be sad with, be surprised with. Another option was to generate the emotional response as reactions – for example, showing some of the films that probed disgust that I made for Hugo Critchley’s research last year. Potentially asking people to put their hands in ice cold water for a while. Its taken a while to get comfortable directing, testing, and also what you can ask people to do – What is needed for the project. I am asking people to give a lot, and trust me – its hard to develop trust to such a quick shoot.

Reading a lot of performance art – marina ambramovic, vitto acconci, joan jonas, gary hill, yoko ono.

Also reading dylan evans “emotion”, and chris friths “making up the mind”.

notes from chris
Pain: Put hand in bucket of ice cold water
Disgust: provide a suitable smell
Happiness: tell joke?

Bob Monkhouse, famous English comedian, “When I was a boy I told people I was going to become a famous English comedian and they laughed at me. They’re not laughing now!”

Surprise should be possible

I am not sure about anger and fear.

Find out about very emotional event in their lives and get them to talk about them.

post to chase up – from marc garret

March 16th, 2008

Filed under: CHAMELEON PROJECT — Tina @ 11:31 am

Hi Tina,

There is a decent bio about Bracha on Wikipedia which also has various links to publications…

Bracha L. Ettinger

chat later :-)


post to chase up – from paula levine

March 16th, 2008

Hi Tina,

Here are the references I mentioned:
1. Guillaume Benjamin Amand Duchenne –
19th century neurologist who worked with electricity to stimulate/simulate emotion. Also published a collection of photographs (new technology at the time) where he created a database of images documenting his electrical experiments on the facial muscles and the emotional states it rendered.

2. Jean-Martin Charcot (who was influenced by the work of Duchenne and who, in turn, influenced Freud in his early exploration of hypnosis and hysteria) ran the Paris Salpêtrière asylum and held public theatres of hysteria for guests where inmates, mostly women, would have hysterical fits. There’s a lot of writing on this, particularly in relationship to the history of women and hysteria. He and a photographer colleague created a large archive of images of hysterics. One particular woman was popular because of her ability to have hysterical fits on cue — her name I think was Augustine. If I remember correctly, she escaped the asylum by dressing as a man and was never seen or heard from again…

Martin Charcot

jean-martin charcot’s photograph of augustine in ecstasy


3. You mentioned Eadweard Muybridge. I know of his work with animal and human locomotion but not with photographing emotion. However he was amazingly productive so…


4. Dr. Jose Delgado from Yale and his early work with electrical stimuli and a charging bull.


Next Page »
   Footer Anatlogo Arts Sa
Australian Government The Visual Arts Strategy