Infinite Posture Dataset, 2021 | Cardiac Biofeedback Measurement #1, 2021
The kinetic man-machine works of Coralie Vogelaar examine what happens when body language is reduced to data. Vogelaar’s works confront us with the discrepancy between the uncontrollability of our own bodies and the rigidity of hard data and AI. Proposing the atmosphere of a test environment, Vogelaar exposes how our state of mind and bodily experience is complex and influenced by many factors, including the observer’s bias.
In Vogelaar's interactive installation Cardiac Biofeedback Measurement #1 one’s heartbeat is detected by a loud tick. Visitors are invited to place a sensor on their ears and to listen to their own heartbeat. The heart rate variability – the time between each heartbeat and influenced by many factors that are physiological, psychological and sensorial – is converted into sound on ceramics. The irregular, clinical sounds expose our own uncontrollability and the discomfort we experience when made aware of that.
In Infinite Posture Dataset a person on a life-size screen performs a range of postures, while the screen moves back and forth at high speed. The clinical, gym-like construct moving the screen, further confuses and interferes with the performance taking place on the screen. As the person lacks a face or identity, the gestures become abstract and unreadable. Communication is doomed to fail in this out-of-control gymnastic installation.
Coralie Vogelaar (NL, 1981) is an interdisciplinary artist who combines scientific disciplines such as behavioural studies with the artistic imagination. Vogelaar investigates the relationship between human and machine by applying machine logic to the human body. Her work manifest itself in the form of performances and video and multimedia installations, for which she works together with experts from various disciplines including data analysis, choreography, and sound design.
Interaction sensors: Kees Reedijk
Ceramics: Europees Keramisch Werkcentrum (EKWC)
Research: TU/e Innovation Space, Louis Bonnaire