b r e a t h i n g a f f e c t
breathing as an act of care
March 24, 2022
Breathing Affect is constructed around the idea of breathing as an act of care. It involves two different species: rapid and slow breathing creatures. Each species can influence the breathing patterns of other individuals in the system. Proximity towards one another influences the synchronization of breathing. The work engages individuals to experience the effects of breathing in sync and ultimately invites the audience to dwell in these emergent patterns of closeness and ultimately empathy.
We explored breathing in a way that does not deal with its immediate link to air. Instead, we approached breathing as a tool of communication and affect. A language based on synchronization, intimacy and empathy. We created a system in which we can observe what patterns emerge when two different species - serenity and anxiety - move in or out of sync with their distinct breathing rhythms. Breathing as an act of care reflects on our way of being in the world. What does it mean to breathe in sync? What are its implications? And how does that refocus our experience of being human?
why breathing?
The formless breath navigates many places and bodies. It mediates our world and its ability to reshape consciousness and perception makes it a compelling quality to be studied.
Research shows that social touch and empathy can enhance interpersonal physiological coupling, which means two bodies can synchronize their breath rhythm and heart rate, depending on the strength of their connection. This physical synchronicity is believed to underlie behavioral synchronicity and empathy.
We symbolize this interplay of breaths by simulating a society of initially randomly breathing individuals. The influence of social touch and empathy is embodied by their simple behavioral rules through the effects of proximity, as well as their attraction/repulsion to one another.
positioning of the artwork
The breath is often linked to biofeedback technology in interactive works. In Breathing Art Art as an Encompassing and Participatory Experience, Grammatikopoulou examines four interactive artworks. She distinguishes various ways of using the breath. Breathing can become a medium in contemplative spaces, in which self-understanding, introspection and a meditative state can be stirred. Breath as a tool for self-expression can be for example found in interactive works such as Drawing Breath (2005) by George Khut. The breath as a means to communicate, connect and collaborate can be found in artworks by Thecla Schiphorst.
We also explored breathing as a tool for communication. Instead of interaction between humans we focused on artificial creatures. We pursued the idea of the artwork as an instrument for observing and reflecting. A conversation piece rather than a tool to control and or influence the artwork. Without the ability of visitors taming these creatures by will, these creatures show self-propelled unexpected patterns in their own pace without a predetermined outcome of whether serenity or anxiety will dominate or whether they will live in perfect equilibrium.
components
abstract
Why? To leave space for participants to dwell into their own imagination. To come closer to (radical) otherness without facial expressions and or a recognizable body. The formless breath takes in this work the shape of an empty circle. By stripping the design down to its bare minimum, we try to capture the very essence of the concept.
synchronization
Playing with proximity, attraction and repulsion, we align breathing rhythms and bodies. Merge, merge, merge. To become one breath. One body. To practice empathy?
experience
By simply observing these breathing bodies and emergent patterns, new thoughts might arise and linger.
v i s i t o r e x p e r i e n c e s
"There is always something new happening that captures my attention."
"Mesmerizing patterns."
"Awww look. That small fast breathing circle is all by itself. None of them wanted to join yet."
"I noticed I am starting to rock back and forth in sync with the cells."
"I directed my focus on the calm breathing circles. Because the hyper ones make me feel uncomfortable."
"I would love to lay down and look at this for hours".
"Am I influencing the patterns?"
What can we learn from people's projections on the work?
When talking to people who came to see the artwork, we tried to encourage people to observe first. What do you see? What do you think is happening? What do you see that makes you say that? What more can we find?
As soon as the circles were accepted as actors, actions and storylines emerged. Groups of circles that were forming and the few circles left on their own, transformed into social behavior ready to be interpreted. Some visitors were rooting for serenity to take over, and were really invested in the behavior of this seemingly alive community. Others identified themselves with the circles and tried to interact with them.
What is next?
The parallel between the (amount of- and serenity of) circles on the screen and the audience in the room is something we would like to further explore; it would be interesting to see whether people will identify with certain cells and synchronize their own breath with that of the circles.
Besides, generative sounds would add another dimension to the work and the act of synchronization. Imagine relating different harmonic tones to each circle's breath pattern, where synchronization creates a symphony of breaths whereas anxiety creates a chaotic soundscape.
b y p r o d u c t s
same system, different output
