Research & Application
Readings, art exhibition visits, media and the extent to which it has influenced my project.
The reality of process
and sensory experience
McLuhan (1998) proposed a tetrad of questions: ‘What does it enhance or intensify? What does it render obsolete or displace? What does it retrieve that was previously obsolesced? And What does it produce or become when pressed to an extreme?’ (p. 7). Digital technology can be understood as a medium that extends a particular part of the human senses, through screens that intensify visual stimuli via graphic interfaces, algorithm-based content feeds, etc. Interactions within these technologies are therefore mediated through screens that flatten any tactile experience into simplified and swift gestures, such as swiping or tapping.
Yet while these involve the sense of touch, they are mainly reduced and limited to the visual sense; relying on touch only as a trigger for further visual output. This is what prompted the thought of how origami may retrieve the sensory aspects that digital technologies seem to suppress or displace; the acoustics of interacting with a sheet of paper, its edges and creases for example.
Sensory Hierarchy
Howes (2014) highlights that regardless of how it is conceptualised, in terms of class, gender, race and ethnicity – the dominant group in the West has always been ‘associated with supposedly ‘higher’ senses of sight and hearing’ (p. 10) whereas subordinate groups of women, workers and non-Westerners have been associated with ‘the so-called lower senses of smell, taste and touch’. This reflects the notion that modern societies tend to associate sight with knowledge, objectivity and control – with digital technologies intensifying this through screens as primary interfaces, this sensory hierarchy is maintained where the other senses are culturally marginalised.
Howes’ ideas are significant because it positions this sensory imbalance within broader historical and cultural frameworks, and I am particularly interested in the ways in which origami may disrupt this hierarchy, repositioning tactile engagement as a legitimate and valuable means of shaping our perspectives on the world. This idea is particularly relevant to my project because it underlines the ways in which tactile experiences have often been undervalued or overlooked as unproductive activities or wastes of time and materials.
'Felt' phenomenology
Patterson explores particular aspects of touch that considers
the less literal sense of touch itself, the ‘more affective and metaphorical forms of touching’ in which he calls a ‘felt’ phenomenology (2013, p. 6).
His perspective acknowledges the extent to which sensations such as pressure, texture, proximity and movement contribute to a broader awareness of understanding and feeling, giving rise to origami as a means of merging knowledge and meaning through tactile sensory experiences.
Difference and Repetition
Although in my proposal form I have mentioned Gilles Deleuze’s Difference and Repetition: A Critical Introduction and Guide (Williams, 2013), the connection proved weaker than expected. The text initially appeared relevant to my project because of its focus on repetition, aligning with origami’s nature of continuous folding and repetitive folds, yet after further consideration I have decided to not include this text as part of the theoretical framework because of its highly abstract, philosophical approach.
I found it difficult to connect the material to the tactile focus of origami. As a result, I have chosen to prioritise the previous writers, whose discussions of touch and sensory hierarchy support my exploration of embodied engagement with tactile processes.
Digital Alienation
Hassan (2020) argues that digital technology is producing a widespread sense of disconnection across society, due to both ‘the nature of digital technology and the needs of capital accumulation’ (p. 164). Digital platforms being designed to maximise profits, collect data and keep users constantly engaged with the technology, reflect structures that exist to serve the economic growth of the hegemonic ruling class.
By fragmenting people’s attention through an accelerated sense
of time and communication, they become detached from the physical environments because majority of social interaction happens digitally.
This results in alienation as people interact through digital technologies rather than directly in person with people, materials or places. Therefore, Hassan's perspective offers a useful framework for understanding the importance of origami in the digital contexts of today.
Threads of Life by Chiharu Shiota
This exhibition was particularly influential – these suspended structures created a strong feeling of spatial immersion and interconnectedness. Going to this exhibition in person helped me think about how hanging elements within a space can alter the viewer’s movement and perception, with handwritten letters to slow you down and reflect on strangers’ lives, as well as the web-like structures that have been perfectly woven to create walkways. This exhibition informed my own consideration of how origami might be suspended in the final exhibition, using a mesh grid-like ceiling and string/wire, to create a more dynamic and engaging installation.
Kew Gardens Orchid Festival
A similar influence came from visiting the Orchid Festival at the Princess of Wales Conservatory, Kew Gardens. The festival featured intricate and elaborate hanging floral displays, as well as animals such as phoenixes and koi fish. The use of suspended sculptures was beautifully made as visitors had things to look at from every angle, with ambient music and the sound of water gently splashing in the background – the acoustics paired really well with the visual space.
Observing these installations prompted me to consider how hanging origami elements could create a similar sense of movement and lightness, through choosing the right materials and hanging techniques.
Hand Catching Lead
by Richard Serra (1968)
This media was part of the inspiration in the moving image component of this project. It features the artist attempting to catch falling pieces of lead with his hand repeatedly, a very simple yet direct focus on repetitive gestures. As each piece fell, I noticed patterns where he would occasionally catch the lead and at other times miss, creating subtle variation within each repeated action. What was interesting to me was that he seemed to hold onto those he caught for a moment, perhaps to register the accomplishment of the gesture; reflecting the idea that even in simple actions are the emotional and ‘felt’ phenomenology of the embodied experience.
This focus resonates with my practice because origami in a similar fashion encourages small moments of success in folding neat creases, and it can be true for the opposite of being frustrated of accidentally folding the wrong edge to the wrong side – these nuances highlight the extent to which we negotiate with material and repetitive systems.
Wavelength by Michael Snow (1967)
Another example of an experimental film, that focuses on time and the mechanics of cinematic perception as opposed to storytelling and narrative. It is 45 minutes long and largely consists of a slow zoom across a room. This challenges the conventional themes of cinema where action and narrative are expected, the gradual transformation emphasises time and positions the viewer to become more aware of the spatial changes.
As I am interested in the embodied perception through origami, this durational approach offers inspiration by demonstrating how sustained attention can reveal certain characteristics about both the medium and the viewer perceiving it.
Faces Places by Agnes Varda (2017)
Agnès Varda demonstrates a more human-centred approach. The film documents Varda travelling through rural France with artist JR, meeting individuals and taking their portraits, to later be used for large-scale installations. Varda’s perspective on encountering others, collaborating with and documenting the creative process is what provided inspiration to how I approach the collective aspect of folding origami with groups of people. I intend to capture their thoughts and behaviours during each workshop in a similar fashion yet only focusing on their hands and voices.
Participatory Art
Bishop suggests that by inviting audiences to become active participants within the artistic process, this form of participatory art challenges the tradition of being a mere spectator, outside of the work (2012, p. 238). Having people actually engaging directly with the production serves as both the reconfiguring of perspectives towards digital technologies and the embodied, tactile experience; the aim is to create an experience that foregrounds engagement.
This methodological insight helped strengthen my ideas around collective origami, before going into the workshops these reminded me of my intentions of being present with the group.