Interactions - November/December 2017

and haptic inputs (Figure 1b). For the latter, we used mid-air haptic stimuli, which creates tactile sensations without physical contact on the users’ hand (i.e., palm), to create a feeling of dry rain or a blow through a straw on the skin [ 5]. The soundscape, created by the sound designer, emphasized the interplay between the positive and negative space of the artwork, especially the painting’s duality of black and white. This was further highlighted and synchronized with the tactile sensation, designed as a combination of a circle-shaped pattern, mirroring the roundness of the painting, that changed in size and scale, and a rain-like pattern, which referenced artist John Latham’s use of spray paint.

#3 In the Hold: This painting was experienced together with scents and sounds (Figure 1c). The sound was presented using four directional speakers. The auditory stimuli were designed to bring the listener toward the painting, through two planes of sound. One plane addressed the geometry of the painting (David Bomberg’s quest for “pure form”), with acute angles and jagged sounds. The second plane explored the subject matter of the “hold.” The scent stimuli had a similar function, with two aromas integrated in two 3D-printed objects: One scent aimed to be shrill, to bring out the blue in the painting, while the other was a diesel and tobacco blend. Both scents were presented at low concentrations and were paired with the sounds.

#4 Figure in a Landscape: Visitors
experienced Francis Bacon’s painting
with taste, scent, and sound stimuli
(Figure 1d). The sound was presented
to the visitors via headphones. The
taste stimulus was delivered in form
of chocolate (praline) on a plinth,
in a bed of tiny chocolate bits that
evoked soil. This taste depicted
the painting’s dark, harsh nature
and the wartime era with multiple
ingredients, namely, charcoal, sea
salt, cacao nibs, and smoky Lapsang
souchong tea. It also aimed to
reference the London park setting
and flashes of color with burnt
orange. The accompanying scent
aimed to convey a sense of Hyde
Park’s smellscape: grass, soil, and
earth, but also a horsey scent. The
auditory stimuli referenced the color
palette, visual texture, and the place
depicted in the painting.

MULTISENSORY EXPERIENCE
IN THE ART GALLERY

After a six-month preparation process, Tate Sensorium was set up in a dedicated space within the Tate Britain art gallery. Figure 2 shows an overview on the space divided into four single cabinets hosting the four paintings respectively. The exhibition was designed so that four visitors could experience it at a time. Altogether, it lasted for about 15 minutes, with three minutes allocated to each of the four paintings. After entering the main door, a staffer welcomed visitors, who

A

were then guided by the instructions given either through headphones (rooms 1, 3a, and 4) or speakers in the dedicated areas (rooms 2 and 3b).

At the entrance (marked 1 in Figure 2), visitors were instructed to put on the headphones to listen to a short introduction about Tate Sensorium, which briefly explained the intent behind the multisensory creation and how visitors might find their own interpretation for each artwork. Visitors also received a wristband to capture their skin conductance response, which was used to create a personalized printout at the end of the tour (this was supervised by Flying Objects).