Comparing Research to Taction

Taction challenges interactive art installations by incorporating a music performance, artificial life, and interactivity to create one ensemble. It mainly differs from The Poetry of Motion as it blurs the boundaries between the audience and the performers, by encouraging the audience to engage with orbs. The performance consists two performers (guitarist and singer), and 5 cushioned objects. The orbs will work as an ensemble in which each have unique characteristics and communicate their preferences in order to synchronize and influence their peers into a harmonious community.

While The Cave of Sounds also included the audience as part of the art piece, the installation relies strictly on the audience in order to create. Taction allows the audience to choose between having a passive or an active role in the ensemble. The orbs not only communicate with each other, but are also influenced by people’s input. A person may swing with the orb, or hold it tighter as a reaction to the performance. These inputs will be translated to specific outputs on the orbs – vibrations and light colouring variations. By having an active role in the performative aspect of the orbs’ outputs, the audience is also challenged to work collaboratively in order to create a stimulating and pleasant ambience to one another.

Plane White is also contingent on the active role of an audience. However, what distinguishes Taction from it is an audible stimuli. While Plane White was displaying sounds through Kandinsky’s painting, it did not truly stimulate the sense of hearing.

Through Taction, we seek to create a space in which most senses – hearing, touch, and sight – will be stimulate, where real life and artificial life converge in a new organism.