Cruising the staged Wonderland: Scenographic photography and the queering of space

This article attempts to introduce and define the creative practice of ‘scenographic photography’ through the exploration of a body of practice-based research completed as part of a Ph.D. at the University of Tasmania in 2018. As research, it examines how traditionally representational forms of photography and scenography can inform each other through the more performative mode of ‘scenographic photography’, an interdisciplinary neologism operating between the performing, spatial and visual arts. Throughout this article, in attempting to define ‘scenographic photography’ as an emergent field, I will concurrently explore how queer space making was used as a critical tool for the research, visualization, execution and exhibiting of this body of work. The title of the body of work – Cruising Wonderland – refers to a specific ‘beat’ site in Sydney associated with illicit encounters and the homophobic violence it engendered during the 1980s, as well as an embodied means of re-presenting such traumatic histories. Within Cruising Wonderland scenographic scale-model making is adopted as a critical tool with which to interrogate specific sites of queer trauma. The inherent ‘wonder’ and fascination associated with the art of the miniature encourages the possibility of a reparative reading not always possible via the explicit documentary tradition of photographing actual sites of trauma. Once presented the audience are required to ‘cruise’ the darkened exhibition environment, like the ‘beat’ spaces referenced in the work, with an acute sensory awareness of their surroundings, of fellow spectators and how they, as participants within Wonderland, perform and are perceived by others. This immersive approach to engaging with the work is designed to encourage a process of empathic engagement, illuminating often-invisible histories, allowing us to move towards reparation through active re-witnessing.

‘Unusual ingredients’: Developing a cross-domain model for multisensory artistic practice linking food and music

This article explores linkages between sensory experiences of food and music in light of recent research from gastrophysics, 4E cognition (i.e. embodied, embedded, extended and enactive) and ecological perception theory. Drawing on these research disciplines, this article outlines a model for multisensory artistic practice, and a taxonomy of cross-domain creative strategies, based on the identification of sensory affordances between the domains of food and music. Food objects are shown to ‘afford’ cross-domain interrelationships with sound stimuli based on our capacity to sense their material characteristics, and to make sense of them through prior experience and contextual association. We propose that multisensory artistic works can themselves afford extended forms of sensory awareness by synthesizing and mediating stimuli across the selected domains, in order to form novel, or unexpected sensory linkages. These ideas are explored with reference to an ongoing artistic research project entitled ‘Unusual ingredients’, creating new music to complement and enhance the characteristics of selected food.

Affective Epiphanies

This proposition explores the potential of a pedagogy of affect as an arts- based research approach to museum education at the university level. Such an approach is predicated on a continuous movement of situated stories as the heart of the learning encounter, generated relationally between object-body-space, or artwork- learner-museum. As a forum for deliberation, the purpose of this conversation is to consider how emotions, as the basis for teaching with caring and sensory awareness, bring vitality, aliveness, and feelings to the fore. This conversation explores affective epiphanies sourced from personal practical knowledge as an expression of arts- research-in-progress. By drawing on autoethnographic life writing, I explore an alternate approach to three museum collections that demonstrate how and why the aesthetic relation of stories operate as pedagogic pivots in ways that reconfigure conventional museum engagement. Rethinking museum education with an arts research perspective is an effort to advance how context connects affective systems of knowing relationally, and why embracing stories offers new pathways to understand museum education through more expansive learning approaches, inclusive of feeling.

Artfulness as a dimension of professional practice in organizations and action research: Acknowledging sensory-aware and embodied attunement in professional organizations

This article addresses the importance of action research to provide approaches to emphasizing and acknowledging artful aspects of professional practice in public sector organizations. The article introduces the philosophical works of Knud Ejler Løgstrup and Kari Martinsen as perspectives on artful aspects of professional practices and knowing. In order to concentrate on artful aspects of the research process, empirical material from two arts-involving workshops with teachers are presented as the concrete methodological expression of the participatory ideas of action research. The article addresses embodied dimensions of practice, the role of sensory awareness in professional knowing in organizations, which are some of the main preconditions for contributing to creative, social change, and scholarly weight. Thus, the article contributes with ways to regard action research as artful, participatory processes and practices that enable creation of organizational and public knowledge on the artful aspects of professional practice.

Garden Smellscape–Experiences of Plant Scents in a Nature-Based Intervention

This study explores how participants suffering from stress-related mental disorders describe their perception, interaction, and lived experience of garden smellscape during their nature-based rehabilitation. Natural elements, and especially nature smells, have been found to have a profound effect on stress reduction, suggesting an interesting link between odor in nature and stress reduction. The study was conducted as a longitudinal case-study, running over a period of 5 years, investigating participants’ perceptions of a garden smellscape, after completing a 12-weeks nature-based rehabilitation in Alnarp Rehabilitation Garden, Sweden. All participants were treated for stress-related mental disorders. Data were collected through retrospective semi-structured individual interviews and analyzed according to interpretative phenomenological analysis. The results revealed in what way nature odor (odor in nature) evoked associations, emotions, and physical reactions and provide examples of how nature scents function as a catalyst for sensory awareness and memories. Findings supported the understanding that experiencing the smell of plants, especially pelargonium, may facilitate stress reduction and support mental recovery in a real-life context. The results of the study can be used for several purposes; thus, they are relevant for actors within the development of nature-based therapy, as well as stakeholders within the horticultural industry.

COVID-19 Diagnoses: A Source of Immanent Value and Novelty

Although the body is fundamental to observation and feeling, its experience of infection is regarded by the biomedical sciences and, for the most part, the social sciences as relatively obtuse. The body is situated as a mere object of inquiry, as if its intricate and highly complex dynamics indicate that it is no more than an imperfect animated machine and, concomitantly, infection simply a change to its normative mechanisms. In this Position Piece, I ask: what might be afforded to the problematic diagnosis of communicable infection and to global health strategies of containment if the body were appreciated as an active participant in diagnoses? To do so, I take up the ‘pluralist panpsychist’ proposition that bodies think. Counter to the view that thinking is the preserve of the human mind and that value is an ‘after’ ascribed to a given fact or situation, I experiment with the idea that the body’s sensory awareness can be thought as a creative source of immanent values. Drawing on a series of empirical examples primarily focused on the perceived novelty of COVID-19, I offer a preliminary sketch of how revaluing the body as involved in decision-making and novelty might enrich the scope of biomedical and social diagnoses.

Curating light: daylight-centric design for promoting wellness

Daylighting in architecture has traditionally been a practice-based, intuitive and experiential process, based on the common notion that daylight enhances our spatial and sensory awareness. This Thesis tests the effectiveness of daylight as a mechanism for creating a psychological and emotional impact, and promoting wellness within the confines of designed spaces. The creation of the project is based on a Maggie’s Cancer Centre model of patient-centric design. Maggie’s Centers have been traditionally located in suburban settings, where they may be ideally oriented for day-light infiltration and outdoor connectivity. The Maggie’s model promotes three primary design factors: i) abundance of daylight, ii) connection to nature, and iii) a de-institutionalized environment. The design project was purposefully situated within the specific constraint of an urban environment, in downtown Toronto, Ontario; where the goal is to achieve a spatial character that embodies these three design factors where daylight and access to views of nature are limited by the urban context. The project demonstrates a method of daylight centric design that utilizes three primary techniques for daylighting that were extracted from precedent analysis: i) Direct light, ii) Bounced light, and iii) Diffused light. Through the methodical harvesting and manipulation of daylight, the project highlights its potential for positively enhancing patient experience and aptly demonstrates the curation of varied experiential narratives in light.

Curating light: daylight-centric design for promoting wellness

Daylighting in architecture has traditionally been a practice-based, intuitive and experiential process, based on the common notion that daylight enhances our spatial and sensory awareness. This Thesis tests the effectiveness of daylight as a mechanism for creating a psychological and emotional impact, and promoting wellness within the confines of designed spaces. The creation of the project is based on a Maggie’s Cancer Centre model of patient-centric design. Maggie’s Centers have been traditionally located in suburban settings, where they may be ideally oriented for day-light infiltration and outdoor connectivity. The Maggie’s model promotes three primary design factors: i) abundance of daylight, ii) connection to nature, and iii) a de-institutionalized environment. The design project was purposefully situated within the specific constraint of an urban environment, in downtown Toronto, Ontario; where the goal is to achieve a spatial character that embodies these three design factors where daylight and access to views of nature are limited by the urban context. The project demonstrates a method of daylight centric design that utilizes three primary techniques for daylighting that were extracted from precedent analysis: i) Direct light, ii) Bounced light, and iii) Diffused light. Through the methodical harvesting and manipulation of daylight, the project highlights its potential for positively enhancing patient experience and aptly demonstrates the curation of varied experiential narratives in light.