Ars Electronica Archive
Prix
Prix Map
Pictures
Videos
Publications
Special Projects
Women in Media Art
Prix
The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Sensitive to Pleasure
Sonia Cillari
Original: Sensitive-to-Pleasure_sketch.jpg | 1000 * 700px | 175.5 KB
Original: Sensitive-to-Pleasure_sound-sphere.jpg | 1000 * 712px | 168.3 KB
Original: Sensitive-to-Pleasure.jpg | 1000 * 666px | 400.7 KB
Original: Sensitive-to-Pleasure_ambisonic-cube01.jpg | 1000 * 275px | 58.5 KB
Original: Sensitive-to-Pleasure_ambisonic-cube02.jpg | 1000 * 275px | 52.3 KB
Original: Sensitive-to-Pleasure_electric-interface01.jpg | 533 * 800px | 114.5 KB
Original: Sensitive-to-Pleasure_ambisonic-cube03.jpg | 1000 * 667px | 126.0 KB
_Sensitive to Pleasure_ is a conflicting work, an intimate piece in which I emphasize the controversial relationship with my own work in front of the public over time.
I’m standing still outside the door of a dark ambisonic cube; I let in only one visitor at a time. Inside the ambisonic cube there is my work, a naked human female (which I call the creature), which is capable of revealing the sound of her body when in contact with other human beings. The physical interaction between the creature and the visitor is played back into my body through electrical pulses, provoking a strong physical experience in me, which is recognized as painful but which might be also pleasant. I use the visitor to gain a physical experience from my work.
The intimacy between the visitor and the creature inside the ambisonic cube will not be documented, so as to give the visitor the possibility of fully experiencing it through involvement and exposure. I’m interested in exploring the way visitors may interact with the creature knowing that their behavior is provoking a strong physical reaction in my body outside; at same time I’m exploring the idea of the public being in a voyeuristic situation looking at me experiencing the piece.
A restricted path of lights on the floor guides the visitor to the entrance to the ambisonic cube; the subtle changes the lights reflect the encounters between the visitor and the creature, enhancing the sensuality of the piece, as well as implying one’s own perceptions of my physical experience on stage.
With a homage to Pygmalion (Ovid's Metamorphoses, X), the sculptor who falls in love with a statue he has made, this piece deals with an inverted relationship of control between the creator and his own creation.
Links: http://www.sonicacillari.net/
I’m standing still outside the door of a dark ambisonic cube; I let in only one visitor at a time. Inside the ambisonic cube there is my work, a naked human female (which I call the creature), which is capable of revealing the sound of her body when in contact with other human beings. The physical interaction between the creature and the visitor is played back into my body through electrical pulses, provoking a strong physical experience in me, which is recognized as painful but which might be also pleasant. I use the visitor to gain a physical experience from my work.
The intimacy between the visitor and the creature inside the ambisonic cube will not be documented, so as to give the visitor the possibility of fully experiencing it through involvement and exposure. I’m interested in exploring the way visitors may interact with the creature knowing that their behavior is provoking a strong physical reaction in my body outside; at same time I’m exploring the idea of the public being in a voyeuristic situation looking at me experiencing the piece.
A restricted path of lights on the floor guides the visitor to the entrance to the ambisonic cube; the subtle changes the lights reflect the encounters between the visitor and the creature, enhancing the sensuality of the piece, as well as implying one’s own perceptions of my physical experience on stage.
With a homage to Pygmalion (Ovid's Metamorphoses, X), the sculptor who falls in love with a statue he has made, this piece deals with an inverted relationship of control between the creator and his own creation.
Links: http://www.sonicacillari.net/
Co-produced by STEIM: Studio for Electro-Instrumental Music, Netherlands Media Art Institute/NIMK (Amsterdam, the Netherlands) and Claudio Buziol Foundation (Venice, Italy). Supported by Fonds BKVB and Optofonica Laboratory for Immersive ArtScience (Amsterdam). Distributed by Netherlands Media Art Institute/NIMK www.nimk.nl
Sonia Cillari (IT/NL) is a media artist and architect, lives and works in Amsterdam (NL). Her work involves the creation of sensorial and perceptual mechanisms in immersive and augmented environments. In recent years she has been specifically interested in a field of research concerning the “Body as Interface”. Since 2010 she is a core group member at Optofonica Laboratory for Immersive ArtScience (Amsterdam).