"Early On I realized that the purely visual experience of an artwork was somehow insufficient. I wanted to go beyond the purely optical and include tactical qualities as well. My works aren't things one just looks at, but things that the viewer is invited to handle. There have been many theories of art that try to break down the border between art and the world, but I don't find such attempts to be particularly meaningful. Art remains art. I really see my work as quite compatible with the l'art pour 'lart philosophy. One may think that I try to bring the art object out into the world since my works sometimes appear to have a practical function, but really it's the other way around: things in the world can, under certain special circumstances, enter the realm of art. And, in fact, once they have entered this realm they are art." ---Franz West..."Adaptives

Franz West + “Adaptives”

Valie Export

Lygia Clark

lygia clark:1967: Sensorial Hoods- This experiment involved eye pieces, ear covers, and a small bag that would be affixed over the participant's nose. The participants would also have helmets with small mirrors affixed to them. The purpose of this experiment was to utilize all of the senses at one time. The outcome of this experiment might be that a participant would use his senses in a way he would never have thought possible.

Abyss-Masks- The participant's eyes were blindfolded and large bags of air weighed down with stones could be touched giving off the sensation of empty space from within the body.

The I and the You: Clothing/Body/Clothing- A man and a woman wear hoods over their eyes and a full body suit and during this experiment, each would come to understand their own gender by feeling through their pockets

Antropofagia- One participant lies down while the rest sit around him with blindfolds over their eyes and communicating with one another solely by touch. These participants are eating fruit found inside the pockets of the reposed participant's suit (which forms a stomach).

Baba Antropofágica (aka "Anthropophagical Dribble") - One participant lies down and the standing participants hold small spools of thread in their mouths and release the string until the reposed participant would be completely immersed in the thread.

Helio Oiticica + “parangoles” Oiticica: , a series of strategies developed by Helio Oiticica in the 1960s: the transformation of the exhibition space into a single Penetrable as seen in Oiticica’s Tropicalia 1967; Eden 1969; Nests 1969. In these works, Oiticica collapsed the relation between high art and no art, exhibition objects and everyday objects, and transformed the whole exhibition space into a total work of art and a total experience. In having the visitor wear masks and kaftans and become part of the exhibition avaf also integrates Oiticica’s strategy of the Parangole: "My entire evolution, leading up to the formulation of the Parangole, aims at this magical incorporation of the elements of the work as such, in the whole life-experience of the spectator, whom I now call participator” .

Rebecca Horn

Kim Jones as “Mudman”

Erwin Wurm + “Sixty-Minute Sculptures”

In this first evolution edition there is three different pieces. The first is “one man chair”, which incites personal thinking. “The bench” represents the crowds of the daily life and its attached cocoon is a door to escape from it. The third chair is called “The lovers chair” and it pretends to confront the two sides of behaving: private and public. It explores different ways of communication, it becomes a connecting tunnel.Designer Nacho Carbonell

Mood Elevation Apparati - - - - - - - - - - - An edition in the ongoing series METHODS & APPARATI for Social Facilitation and Mood ElevationPublished in UNTITLED 003

- - - - - - - - - - - :: FULL SPECTRUM OPTICAL INVIGORATION UNIT:: PSEUDO SMILE GUIDES:: COOLING INHALATION AID (aka Fridgi-Poofs) Keetra Dean Dixon

Distorting the seam between home comfort and urban exposure, SHAREWEAR creates an in-between place amid private and shared space. The work comprises of a pair of reconfigurable, electronic dresses that physically slot together to activate atmospheric pools of light. Unleashing potential for intimate chance discoveries, they are worn as part of a performance, inviting both wearer and audience to, get close, lean on one another, morph space, manipulate light and cast long shadows. SHAREWEAR is an investigative fashion and technology collaboration involving Di Mainstone and V2_, Institute for the Unstable Media.

http://sharewear.projects.v2.nl/index.html

Talk to Yourself Hat

The Talk to Yourself Hat considers the act of conversing with oneself. When speaking through a mouthpiece suspended in front of the face, the voice is channeled back into the ears. It allows the wearer to speak out loud while still retaining the right to a somewhat private conversation. Kate Hartman

The Muttering Hat is an exploration of what it would be like to extricate the noise of the thought process and put it into physical form. A pair of muttering balls are tethered to the hat. They may be stuck to the ears, so that all other noise is obstructed by the mutterings, or they may be detached, providing the opportunity to escape

from the mutterings or to share them with a friend. Kate Hartman

I sometimes use my touchphone in the bath. I know it’s stupid. One problem I encounter is that when put my left hand in the water without thinking, it gets wet and unusable for touchscreen navigation. It is too risky to try to hold and navigate with one hand. I found that I could use my nose to scroll but I couldn’t see where my nose was touching precisely. It was at that point that I came up with this idea of a nose extension ‘finger’ that would

allow navigation while my phone is firmly held by one hand. Dominic Wilcox

Reconciliation Dominic Wilcox

Lucy Orta

Jana Sterbak

Inflatable rescue skirt

Krystof Wodiczko + “Alien Staff”

Kenji Yanobe

• http://www.youtube.com/watch?v=O0uNnmAudmk&feature=player_embedded

• http://www.katehartman.com/projects/inflatableheart/