I work as an artist, curator and media researcher in experimental media art and interaction design. My art works expand on ordinary ways of perceiving the world, such as the ‘psychoplastic’ experiences, using mobile, geo-locative and tactile media to turn the body into a somatosensory stage for highly personal, interoceptive experiences: http://psychoplastics.wordpress.com/ http://blindtheater.wordpress.com/ http://sensememory.me PhD 'Virtual Touch': virtualtouch.wordpress.com Address: Oslo, Norway
The interface and interplay between sex and digital technologies is the subject of this chapter o... more The interface and interplay between sex and digital technologies is the subject of this chapter on cybersex. It raises a number of questions about the virtuality or reality of such sexual encounters as it charts the development and forms of cybersex, from its historical origins to current experimentation and future possibilities and from chat-based cybersex to teledildonics and cybersex machines. It investigates the allure of cybersex: that it promises a technologically enhanced and telematic body to sexually, but safely, experiment with in an environment where you can be anyone and anything you want.
This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigu... more This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigurations and new modes of artistic agency.
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
Virtual Touch
The central focus of this thesis is the use and experience of touch in artistic, mu... more Virtual Touch The central focus of this thesis is the use and experience of touch in artistic, multimodal and computer-based environments. It presents how it feels to touch and be touched in such environments. Further it gives an overview of the role of vibrotactile stimulation and corporeal interaction in interactive art, showing how touch can be used to construct meaningful experiences. Touch is approached through practice based research in the arts. Specifically it looks at how bodysuits can function as a two-way tactile display, conveying vibrotactile feedback to the body and interfacing the human to the computer through touch. Haptic stimuli in general and vibrotactile stimuli in particular, can have the effect of making the virtual appear more real. A central contribution of the thesis is the explanation of how touch can be content in itself and form so called haptic storytelling. Theoretically touch is investigated through a phenomenological approach on how the world of our experience is constituted for us. A phenomenology of touch allow us to understand the interplay between subjective, felt embodiment and the psychophysically contextualized work of art New in this thesis and approach are the combinations of the various theories on and about touch, but in particular the application of this to works of art where touch appears as a genuine artistic medium. This contributes to the definition of new practices of inquiry and knowledge making.
Ståle Stenslie (1965) is a media artist, researcher and curator in the field of experimental art and interface technologies. He has exhibited and lectured at major international events like ISEA, DEAF, Ars Electronica and SIGGRAPH. He represented Norway at the 5th Istanbul biennial and won the Grand Prize of the Norwegian Council for Cultural Affairs. Between 2001 and 2005 he was a professor in New Media at the Academy of Media Arts, Cologne, Germany. From 2005 till 2007 he was the founding dean of the Faculty of Visual Arts, Oslo National Academy of the Arts.
ISBN 82-547-0232-2 ISSN 1502-217x
Oslo School of Architecture and Design (AHO) PhD thesis 44 (www.aho.no)
Elements of beauty and pleasure in food are usually associated with and recognized through visual... more Elements of beauty and pleasure in food are usually associated with and recognized through visual appearance, smell, and taste. Once our food is swallowed it is as if it has disappeared from our aesthetic horizon. How to aesthetically relate to the autonomous, hidden world of the innards? How to practically make art within the complex mechanisms of our digestive system?
Can we construct viscerally noticeable pleasures and sense beauty on the inside of our bodies?
The chemical components of food affect us in various ways, but our food processing is normally not somatically pronounced, rarely mapped in everyday situations or much noticed throughout the food digestive process that lasts the better part of our day.
This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigu... more This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigurations and new modes of artistic agency. Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories. Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie. Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum. Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications. Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons. ISBN 9781783209484 Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
Haptic hedonism is about producing sensual enjoyment through corporal stimulation. Haptic here re... more Haptic hedonism is about producing sensual enjoyment through corporal stimulation. Haptic here referes to the sense of touch in all its forms, including proprioception and kinaesthesia, but in particular the cutaneous sensations of tactile pressure (mechanoreceptors) (Paterson 2007: ix). The context of art, design and technology frames this investigation on how corporal pleasures can become an integral part of interactive experiences. The focus on the design of haptic bodysuits relates to questions such as: How can corporal pleasure constitute the user experience? How can the sensations of the body be understood as an artistic and design specific ‘material’? And, can we aesthetically manipulate our bodies to sense a real and reproducible pleasure? How can the body be experienced as a canvas of sensations? Or even a design product?
Proceedings of the 8th International Conference on Tangible, Embedded and Embodied Interaction - TEI '14, 2013
ABSTRACT The Stitchies system consists of two bodysuits which each incorporate a network of 120 m... more ABSTRACT The Stitchies system consists of two bodysuits which each incorporate a network of 120 microprocessors and connected over networks. The open-source based system allows for complete telehaptic communication, that is physical and touch based connectivity over all of the users bodies. The artistic presentation will allow visitors to try the system and experience a next step towards online and telehaptic performance.
This paper presents a new spherical shaped capacitive sensor device for creating interactive comp... more This paper presents a new spherical shaped capacitive sensor device for creating interactive compositions and embodied user experiences inside of a periphonic, 3D sound space. The Somatic Sound project is here presented as a) technological innovative musical instrument, and b) an experiential art installation. One of the main research foci is to explore embodied experiences through moving, interactive and somatic sound. The term somatic is here understood and used as in relating to the body in a physical, holistic and immersive manner.
In this article we give an overview of our iterative work in developing visual editors for creati... more In this article we give an overview of our iterative work in developing visual editors for creating high resolution haptic patterns to be used in wearable, haptic feedback devices. During the past four years we have found the need to address the question of how to represent, construct and edit high resolution haptic patterns so that they translate naturally to the user’s haptic experience. To solve this question we have developed and tested several visual editors
In this dialogue with Stahl Stenslie, Stelarc discusses his use of the body as an artistic materi... more In this dialogue with Stahl Stenslie, Stelarc discusses his use of the body as an artistic material. He explains his own experience from the inside his own performance based artworks, disclosing a unique insight into somaesthetical matters representative of bodybased performance art.
The paper explores embodied experiences through moving, interactive and somatic sound. Somatic so... more The paper explores embodied experiences through moving, interactive and somatic sound. Somatic sounds presents a new approach as to how the body of the user can become a dynamic material to shape embodied, corporal sensations. The project represents both an incremental improvement to full-sphere, immersive spatial audio sound experiences and a new take on embodied sound letting users touch sound and feel space.
This article describes the art and architectural research project Preemptive Architecture that us... more This article describes the art and architectural research project Preemptive Architecture that uses artistic strategies and approaches to create bomb-ready architectural structures that act as instruments for the undoing of violence in war. Increasing environmental usability through destruction represents an inverse strategy that reverses common thinking patterns about warfare, art and architecture. Building structures predestined for a constructive destruction becomes a creative act. One of the main motivations behind this paper is to challenge and expand the material thinking as well as the socio-political conditions related to artistic, architectural and design based practices. Article received: December 12, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Stenslie, Stahl, and Magne Wiggen. "Preemptive Architecture: Explosive Art and Future Architectures in Cursed Urban Zones." AM Journal of Art...
The interface and interplay between sex and digital technologies is the subject of this chapter o... more The interface and interplay between sex and digital technologies is the subject of this chapter on cybersex. It raises a number of questions about the virtuality or reality of such sexual encounters as it charts the development and forms of cybersex, from its historical origins to current experimentation and future possibilities and from chat-based cybersex to teledildonics and cybersex machines. It investigates the allure of cybersex: that it promises a technologically enhanced and telematic body to sexually, but safely, experiment with in an environment where you can be anyone and anything you want.
This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigu... more This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigurations and new modes of artistic agency.
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
Virtual Touch
The central focus of this thesis is the use and experience of touch in artistic, mu... more Virtual Touch The central focus of this thesis is the use and experience of touch in artistic, multimodal and computer-based environments. It presents how it feels to touch and be touched in such environments. Further it gives an overview of the role of vibrotactile stimulation and corporeal interaction in interactive art, showing how touch can be used to construct meaningful experiences. Touch is approached through practice based research in the arts. Specifically it looks at how bodysuits can function as a two-way tactile display, conveying vibrotactile feedback to the body and interfacing the human to the computer through touch. Haptic stimuli in general and vibrotactile stimuli in particular, can have the effect of making the virtual appear more real. A central contribution of the thesis is the explanation of how touch can be content in itself and form so called haptic storytelling. Theoretically touch is investigated through a phenomenological approach on how the world of our experience is constituted for us. A phenomenology of touch allow us to understand the interplay between subjective, felt embodiment and the psychophysically contextualized work of art New in this thesis and approach are the combinations of the various theories on and about touch, but in particular the application of this to works of art where touch appears as a genuine artistic medium. This contributes to the definition of new practices of inquiry and knowledge making.
Ståle Stenslie (1965) is a media artist, researcher and curator in the field of experimental art and interface technologies. He has exhibited and lectured at major international events like ISEA, DEAF, Ars Electronica and SIGGRAPH. He represented Norway at the 5th Istanbul biennial and won the Grand Prize of the Norwegian Council for Cultural Affairs. Between 2001 and 2005 he was a professor in New Media at the Academy of Media Arts, Cologne, Germany. From 2005 till 2007 he was the founding dean of the Faculty of Visual Arts, Oslo National Academy of the Arts.
ISBN 82-547-0232-2 ISSN 1502-217x
Oslo School of Architecture and Design (AHO) PhD thesis 44 (www.aho.no)
Elements of beauty and pleasure in food are usually associated with and recognized through visual... more Elements of beauty and pleasure in food are usually associated with and recognized through visual appearance, smell, and taste. Once our food is swallowed it is as if it has disappeared from our aesthetic horizon. How to aesthetically relate to the autonomous, hidden world of the innards? How to practically make art within the complex mechanisms of our digestive system?
Can we construct viscerally noticeable pleasures and sense beauty on the inside of our bodies?
The chemical components of food affect us in various ways, but our food processing is normally not somatically pronounced, rarely mapped in everyday situations or much noticed throughout the food digestive process that lasts the better part of our day.
This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigu... more This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigurations and new modes of artistic agency. Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories. Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie. Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum. Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications. Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons. ISBN 9781783209484 Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
Haptic hedonism is about producing sensual enjoyment through corporal stimulation. Haptic here re... more Haptic hedonism is about producing sensual enjoyment through corporal stimulation. Haptic here referes to the sense of touch in all its forms, including proprioception and kinaesthesia, but in particular the cutaneous sensations of tactile pressure (mechanoreceptors) (Paterson 2007: ix). The context of art, design and technology frames this investigation on how corporal pleasures can become an integral part of interactive experiences. The focus on the design of haptic bodysuits relates to questions such as: How can corporal pleasure constitute the user experience? How can the sensations of the body be understood as an artistic and design specific ‘material’? And, can we aesthetically manipulate our bodies to sense a real and reproducible pleasure? How can the body be experienced as a canvas of sensations? Or even a design product?
Proceedings of the 8th International Conference on Tangible, Embedded and Embodied Interaction - TEI '14, 2013
ABSTRACT The Stitchies system consists of two bodysuits which each incorporate a network of 120 m... more ABSTRACT The Stitchies system consists of two bodysuits which each incorporate a network of 120 microprocessors and connected over networks. The open-source based system allows for complete telehaptic communication, that is physical and touch based connectivity over all of the users bodies. The artistic presentation will allow visitors to try the system and experience a next step towards online and telehaptic performance.
This paper presents a new spherical shaped capacitive sensor device for creating interactive comp... more This paper presents a new spherical shaped capacitive sensor device for creating interactive compositions and embodied user experiences inside of a periphonic, 3D sound space. The Somatic Sound project is here presented as a) technological innovative musical instrument, and b) an experiential art installation. One of the main research foci is to explore embodied experiences through moving, interactive and somatic sound. The term somatic is here understood and used as in relating to the body in a physical, holistic and immersive manner.
In this article we give an overview of our iterative work in developing visual editors for creati... more In this article we give an overview of our iterative work in developing visual editors for creating high resolution haptic patterns to be used in wearable, haptic feedback devices. During the past four years we have found the need to address the question of how to represent, construct and edit high resolution haptic patterns so that they translate naturally to the user’s haptic experience. To solve this question we have developed and tested several visual editors
In this dialogue with Stahl Stenslie, Stelarc discusses his use of the body as an artistic materi... more In this dialogue with Stahl Stenslie, Stelarc discusses his use of the body as an artistic material. He explains his own experience from the inside his own performance based artworks, disclosing a unique insight into somaesthetical matters representative of bodybased performance art.
The paper explores embodied experiences through moving, interactive and somatic sound. Somatic so... more The paper explores embodied experiences through moving, interactive and somatic sound. Somatic sounds presents a new approach as to how the body of the user can become a dynamic material to shape embodied, corporal sensations. The project represents both an incremental improvement to full-sphere, immersive spatial audio sound experiences and a new take on embodied sound letting users touch sound and feel space.
This article describes the art and architectural research project Preemptive Architecture that us... more This article describes the art and architectural research project Preemptive Architecture that uses artistic strategies and approaches to create bomb-ready architectural structures that act as instruments for the undoing of violence in war. Increasing environmental usability through destruction represents an inverse strategy that reverses common thinking patterns about warfare, art and architecture. Building structures predestined for a constructive destruction becomes a creative act. One of the main motivations behind this paper is to challenge and expand the material thinking as well as the socio-political conditions related to artistic, architectural and design based practices. Article received: December 12, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Stenslie, Stahl, and Magne Wiggen. "Preemptive Architecture: Explosive Art and Future Architectures in Cursed Urban Zones." AM Journal of Art...
(Accepted and presented paper, published by http://isea-archives.org/, but censored by the local ... more (Accepted and presented paper, published by http://isea-archives.org/, but censored by the local ISEA committee in Dubai) The paper presents how developments in the field of Smart Clothing and electronic textiles engender new, corporal sensitivity and new artistic applications of touch. The senses of touch in the context of new media art and immersive environments pose many challenges. The paper centers around my work on haptic bodysuits that create somatic impressions of both touch and presence in immersive environments. Haptic technologies built into bodysuits enable new kinds of sense-manipulative art experiences. The somatosensory system is a little used, but important way to investigate how we perceive and understand the world. [2] Within immersive virtual environments and multisensory interfaces the artistic experience promises to become a sensual fusion of man and artwork, dependent upon the user's presence and bodily functions. A central component here is the design of bodysuits. The purpose of this paper is to explore and present how tactile stimulation can be used in the arts. Tactility is a highly underexplored technology [1] and medium for art and is here presented as a valid artistic expression.
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Books by Stahl Stenslie
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
The central focus of this thesis is the use and experience of touch in artistic, multimodal and computer-based environments. It presents how it feels to touch and be touched in such environments. Further it gives an overview of the role of vibrotactile stimulation and corporeal interaction in interactive art, showing how touch can be used to construct meaningful experiences.
Touch is approached through practice based research in the arts. Specifically it looks at how bodysuits can function as a two-way tactile display, conveying vibrotactile feedback to the body and interfacing the human to the computer through touch. Haptic stimuli in general and vibrotactile stimuli in particular, can have the effect of making the virtual appear more real. A central contribution of the thesis is the explanation of how touch can be content in itself and form so called haptic storytelling.
Theoretically touch is investigated through a phenomenological approach on how the world of our experience is constituted for us. A phenomenology of touch allow us to understand the interplay between subjective, felt embodiment and the psychophysically contextualized work of art
New in this thesis and approach are the combinations of the various theories on and about touch, but in particular the application of this to works of art where touch appears as a genuine artistic medium. This contributes to the definition of new practices of inquiry and knowledge making.
Ståle Stenslie (1965) is a media artist, researcher and curator in the field of experimental art and interface technologies. He has exhibited and lectured at major international events like ISEA, DEAF, Ars Electronica and SIGGRAPH. He represented Norway at the 5th Istanbul biennial and won the Grand Prize of the Norwegian Council for Cultural Affairs. Between 2001 and 2005 he was a professor in New Media at the Academy of Media Arts, Cologne, Germany. From 2005 till 2007 he was the founding dean of the Faculty of Visual Arts, Oslo National Academy of the Arts.
ISBN 82-547-0232-2
ISSN 1502-217x
Oslo School of Architecture and Design (AHO) PhD thesis 44 (www.aho.no)
Papers by Stahl Stenslie
Can we construct viscerally noticeable pleasures and sense beauty on the inside of our bodies?
The chemical components of food affect us in various ways, but our food processing is normally not somatically pronounced, rarely mapped in everyday situations or much noticed throughout the food digestive process that lasts the better part of our day.
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
The central focus of this thesis is the use and experience of touch in artistic, multimodal and computer-based environments. It presents how it feels to touch and be touched in such environments. Further it gives an overview of the role of vibrotactile stimulation and corporeal interaction in interactive art, showing how touch can be used to construct meaningful experiences.
Touch is approached through practice based research in the arts. Specifically it looks at how bodysuits can function as a two-way tactile display, conveying vibrotactile feedback to the body and interfacing the human to the computer through touch. Haptic stimuli in general and vibrotactile stimuli in particular, can have the effect of making the virtual appear more real. A central contribution of the thesis is the explanation of how touch can be content in itself and form so called haptic storytelling.
Theoretically touch is investigated through a phenomenological approach on how the world of our experience is constituted for us. A phenomenology of touch allow us to understand the interplay between subjective, felt embodiment and the psychophysically contextualized work of art
New in this thesis and approach are the combinations of the various theories on and about touch, but in particular the application of this to works of art where touch appears as a genuine artistic medium. This contributes to the definition of new practices of inquiry and knowledge making.
Ståle Stenslie (1965) is a media artist, researcher and curator in the field of experimental art and interface technologies. He has exhibited and lectured at major international events like ISEA, DEAF, Ars Electronica and SIGGRAPH. He represented Norway at the 5th Istanbul biennial and won the Grand Prize of the Norwegian Council for Cultural Affairs. Between 2001 and 2005 he was a professor in New Media at the Academy of Media Arts, Cologne, Germany. From 2005 till 2007 he was the founding dean of the Faculty of Visual Arts, Oslo National Academy of the Arts.
ISBN 82-547-0232-2
ISSN 1502-217x
Oslo School of Architecture and Design (AHO) PhD thesis 44 (www.aho.no)
Can we construct viscerally noticeable pleasures and sense beauty on the inside of our bodies?
The chemical components of food affect us in various ways, but our food processing is normally not somatically pronounced, rarely mapped in everyday situations or much noticed throughout the food digestive process that lasts the better part of our day.