Audio  Vision

Gaming pictures with sound

November  2009

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ORCHESTRATE AUDIO VISION.


29 October 2009

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Perception is not something that happens to us, or in us.  It is something we do.  Perception is input from world to mind, action is output from mind to world, thought is the mediating process.  In short, perception is not a process in the brain, but a skillful activity on the part of the ‘animal’ as a whole. 


There are, broadly speaking, two different kinds of blindness.  First, there is blindness due to damage or disruption of our bodily, sensitive apparatus.  Second, blindness is due to a person’s inability to integrate sensory stimulation with patterns of movement, sound, and thought... it is a kind of experiential blindness. 


To see is not just to have visual sensations, it is to have visual sensations that are integrated, in the right sort of way, with bodily skills and critical awareness.


Genuine perceptual experience then depends not only on the character and quality of the stimulation, but also, for instance, on our sensorial exercise of motor, aural and cognitive understanding.  The disruption of these knowledges does not leave us with experiences we are unable to put to use.  It leaves us without experience. 


Today’s radical technological (media) advancements combining sensorial and realistic representation first fragment then suture our human-body-knowledges into startling new kinds of unforeseen and indeterminable experiences.  New experiences which are just now beginning to manifest in society.


Integrating perception with our entire body is crucial for cognition, thought, action... but also for commodity.  For once our commodities become truly integrated, control is achieved... and control is the ultimate conclusion in every media technologies.


ORCHESTRATE MEDIA REPRESENTATION.




  The poet makes himself a seer by a long, prodigious

and reasoned disordering of all the senses. 


Rimbaud










HOLLAND WILDE:

An American, living

in Canada, now spending his life experimenting with new forms of critical media ethnography.