Dark Perfume WITH INTEGRATED CIRCUITS: Raewyn Turner & Brian Harris      2017

 

 The electronic circuit is laid out to represent its schematic diagram within which are two integrated circuits. It holds both a fragrance and a background odour.

 When the work is approached to sample the perfume the electronic circuitry emits a second earthy fecal animal odour. The work refers to collective memory and computational memory, and the tension between forgetting and remembering, inspired by the line “our memories mislaid by the rain”  in Ishiguro’s Buried Giant.

 The audience are invited to sample the perfume with the glass dipstick. A sensor detects one’s proximity and the electronic circuitry emits a background odour.  which is built around the smells that envelop us; earthy, weedy, smoky, they are  that of a system that engineered our landscape and thus our mindscape into a grid system of fields and front yards beginning in the mid 1800’s in New Zealand.

The botanical perfume, sealed in a flask for a future time, recalls a tenebrous memory of the fragrance of mushroom picking at dawn, flowers growing in ditches, and the smell of the  milkman’s horses. Its set within the interactive electronic circuit laid out to represent its schematic diagram within which are two integrated circuits. The invention of the integrated circuit allowed intelligence to be added to everyday items. Integrated circuits can make decisions and  synthesise memory.

Fragrance:  Frankincense, costus, cocoa, civet, lapsang souchong tincture, wild porcini mushroom tincture, heliotrope, pink champaca, black pepper

 Background Odour: Seaweed, vetiver, geosmin, cepes, birch tar, kauri gum, methyl hexyl ketone, hexanol, church incense smoke, guaicol, costus

   

Dark Perfume£1 with Integrated Circuits.JPG

 

RAEWYN TURNER & BRIAN HARRIS

Turner & Harris combine art, engineering, science research and their skills developed over years of practice in theatre, the film industry, robotics, interactive software, video, olfactory, art installations and performances. They engage simple elements with engineering to create experiential art, utilising everyday objects reinterpreted with robotics, electronics and microprocessors which Brian develops for cameras in the film industry, along with Raewyn's olfactory research, live performance and art practice.  They’ve been collaborating since 2010.

They exhibit regularly in New Zealand and have shown in numerous National and International exhibitions:

2017 The Big Anxiety Festival, Australia 2017

2017  What Taste is the Colour Blue ? An exhibition presented by Building Bridges Art Exchange, sponsored by the International Association of Synaethetes, Artists, and Scientists, and in partnership with Art Sci Gallery at UCLA

2016 The Vivian Gallery NZ Not Just Flower Show. Opening presentation.

2016 1st Synesthesia Art Exhibition and Forum in China -Beijing, Xu Zhou, Hang Zhou and Guang Zhou

2016 Artist Residency  CEINT Centre for Environmental Implications of Nano Technology Science Centre Duke University, USA,

2016 Directed cross-sensory workshops Mapping Emotional Words to Fragrances and Flavours in Periodic Table Italy

2016 2016 Directed cross-sensory workshops Mapping Emotional Words to Fragrances and Flavours  @ Intimate Technologies, the Field, Brighton, UK,

2016 Presentation Code Biology, Urbino, Italy.

2016 25th Annual Wallace Art Awards exhibition No Other Hands like Mine

2016 cloud Ramp Gallery, Wintec, Waikato 2 Jun – 24 Jun It sounds like I missed out on a lot while standing in the middle of the Cloud installation SMOTE 

2015 Fallible selected for Teknesyn at the V International Congress Synesthesia Science and Art;

2014  Wallace Trust First Runners Up award 2014 with Verdugos,

2014 The Kinetica Supreme Award, NZ with Toward the Mean

2012 Corban's Trusts Sculpture Award with Downwind

2012 exhibited Downwind at ISEA2013 in Sydney  Resistance is Futile: Ecologies and Technologies with CNZ support.