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).
Wall
Artwork / Paintings
Headphones (cabled)
Speaker
Diffuser
Anglepoise lighting
Measurement area
Scent unit
Chocolates
Desk / Table
Plinth
Small lighting
for an object
Main lighting
Practical lighting
(for operators)
ENTER EXIT
1
2
3a3b
4
Figure 2. Room layout of the Tate Sensorium exhibition in the Tate Britain art gallery in London.