感官瑜珈_專輯

館長序

科技時代中，人類致力於提升資訊傳輸的速度，所有事物彼此連結流通，使我們每日生產及接收的資訊 量倍增；各種訊息透過數據分析逐漸被透明化，也讓我們對世界的認識有了更新、更深層、更全面的理 解。在現今，由於科技技術已能建構出十分逼近真實的世界與事件，在以假亂真及真實與虛擬邊界消融 的情境下，我們認識世界的方式除了透過視覺、聽覺、嗅覺、味覺、觸覺的聯合運用外，具備清明的意 識及覺知的能力似乎更為重要。時時保持內在覺醒，並銳化原有的感官功能，以找回身心安定的力量， 成為這個時代中每個人必修的課題。

人類的感官極為精密複雜，我們每天透過眼、耳、鼻、舌、身、意，去認識與體驗世界。然而如何去感 受每種感官及內在意識的純粹？透過藝術的欣賞必然是一條絕佳途徑。本年度本館所策辦的「感官瑜 珈」展，即展出以感官體驗或探索感官、覺知相關的藝術創作，邀請觀眾與藝術家、作品進行互動，重 新回訪我們的五感，甚至第六感、第七感。「瑜珈」一詞具有多種意義，其中包含尋求「身心合一」、

「梵我一如」之深義，它已由印度廣傳為現代人流行的自我成長方式及喜愛的修行法門，比如透過呼吸、 冥想及體位法的練習達到身心和宇宙能量的連結。因此，本展以「感官瑜珈」為名，希望觀眾在藝術的 引領之下，能夠獲得如瑜珈練習般的感受，達成自我對感官與覺知更敏銳的內在觀察，並喚醒原已具備 的感受能力。當感受能力被擴張與銳化之後，在這個瞬息萬變且易陷焦慮的時代中，相信我們將能逐漸 控制自己的心智波動，達到「靜心」的目的。

本館很榮幸邀請陳小曼、程仁珮、Peter de Cupere、林人中、lololol、鬼丘鬼鏟、Shinseungback Kimyonghun、上田麻希共8組優秀藝術家展出，本展作品除觸及視覺、聽覺、嗅覺、味覺、觸覺以及 我們的潛在意識外，另一特色為部分作品具有表演性或互動性，將由藝術家進行表演或邀請觀眾參與成 為創作的一部份；而每一項表演或參與式活動，觀眾將有機會透過感官體驗，了解與深思藝術家意欲探 討的社會及文化議題。時值全球面臨新冠病毒傳播的危機之際，深切期待本展的策辦能提供觀眾一個鍛 鍊感官覺知的空間，並在美術館中實踐以藝術淨化心靈的功能。

國立臺灣美術館 館長

Directorʼs Preface

In the Age of Technology, the human race is dedicated in improving the speed of information transfer, and as all things become interconnected, the amount of information we produce and receive on a daily basis is expanding exponentially. As information becomes more transparent due to data analysis, the understanding that we have for the world also becomes more updated, in-depth, and increasingly more comprehensive. Todayʼs technology is capable of simulating the world and its events in a very realistic manner, creating scenarios that blur the line between reality and fiction. Beyond learning about the world through using our senses of sight, hearing, smell, taste and touch, it has also become quite imperative to be able to keep a clear consciousness and awareness. The abilities to remain internally alert, to sharpen our primordial sensory functions, and to rediscover strength that could keep oneʼs body and mind calm and stable have become compulsory for each person living in todayʼs time.

The human senses are quite intricate and complex. We use our eyes, ears, nose, tongue, body, and mind to explore and experience the world around us on a daily basis. However, how should we go about experiencing each our senses and our consciousness in a pure way? We think art appreciation is undoubtedly an exceptional path for attaining such experience.

On view in the exhibition, “Sensory Yoga”, presented this year at the National Taiwan Museum of Fine Arts are artworks related to perceptual experiences, sensory exploration, and consciousness and awareness. We invite our audience to interact with the artists and their creations and to embark on a journey revisiting their five senses and perhaps their sixth or seventh senses. The term, yoga, holds multiple meanings, including the profound philosophy of “ unity by connecting the body, mind, and soul ” or Tat Tvam Asi, a Sanskrit phrase which can be loosely translated as “Thou art that.” Originated in India, yoga has become a popular practice for self-growth enjoyed by many today. Through breathing, meditation, and poses, yoga practitioners are able to form connection between their minds and bodies and the cosmic energy. Therefore, with the title, “ Sensory Yoga ” , the objective of the exhibition is to use art to guide the audience in experiencing feelings similar to those from practicing yoga and for them to engage in inner-reflections through observing their perceptions and awareness, leading to the awakening of sensory abilities that lie within. When sensory abilities are augmented and sharpened, we believe that each of us will be able to slowly gain control over the ups and downs that we feel emotionally and mentally in this era of rapid changes and overwhelming anxieties. We could then attain a state of inner tranquility with our hearts calm and peaceful.

It is with great pleasure that we present the following eight exceptional artists in this exhibition: Slow Chen, Cheng Jen-Pei, Peter de Cupere, River Lin, lololol, Ghost Mountain Ghost Shovel, Shinseungback Kimyonghun, and Maki Ueda. In addition to senses of sight, hearing, scent, taste, and touch, the subconscious will also be explored in the artworks on view. Additionally, some of the artworks also showcase performative and interactive elements, with performances presented or members of the audience invited to take part in the artworks. Through each performance or participatory activity, the audience will be provided with opportunities to engage in sensory experiences and to understand and reflect on the social and cultural issues that the artists seek to examine. As the world collectively brace for the coronavirus crisis, we hope through this exhibition to offer to our audience a space to train and strengthen their senses and awareness and for the museum to fulfill our purpose of purifying peopleʼs minds and spirits through art.

Director, National Taiwan Museum of Fine Arts

感官瑜珈 當代藝術中的感官經驗與訓練

前言

人類始終在追求資訊如何更快速的傳輸。從大眾媒體的變化觀之，自收音機、電影、電視的出現，到現 在的網路直播，資訊的取得不僅要「即時」還要「隨時」。「速度」帶給我們刺激與快感，這種感官上 的滿足使人類陷入無限的迴圈，企求更快、更多的資訊流通，我們的身心也為了適應世界的變化而調整， 追趕著快速的生活節奏。

人類的感官極為精密複雜，我們對事物的認識與感受，往往同時透過幾種感官去理解；藉由親身感受的 體驗，我們相信所見為真。然而長期在媒體訊息的環繞及衝擊下，感官終有麻木或遲鈍的時刻，結果是 如藥物上癮般必須不斷加重劑量，獲取更大的滿足。而感官的麻木或遲鈍狀態，是否能透過藝術的體驗 或訓練，讓身心找回安定的力量，並強化、擴張感官的敏銳度？

若答案是肯定的，則美術館作為展示及推廣藝術的場域，必定是一個極佳的訓練場，而這也是「感官瑜 珈」展覽的策辦動機。因此，本文將從一個藝術工作者的角度出發，探討觀眾是否可以在美術館透過欣 賞藝術品及與之互動，重新回訪我們的感官與覺知，進而獲得內在覺醒的能力。

感官訓練與藝術、美術館之關聯

我們透過眼、耳、鼻、舌、身、意來認識世界，包含視覺、味覺、嗅覺、觸覺、聽覺，甚至心覺、時覺 等，這些感官經驗與我們所接受的教育、訊息、文化彼此交錯，影響我們對事物的判斷。多數時候人類 必須同時運用好幾種感官，才能了解一件事物的全貌，例如吃東西，先用視覺看到食物，用嗅覺聞到味 道，藉由生活經驗和兩種感官的聯合運用，我們已對眼前的食物產生判斷(美味或難以下嚥)，但直到 吃進口中品嚐，方能證實腦中的想像是否正確。

而日常生活中，我們每天睜眼醒來就開始用感官體驗各種資訊，如手機app的通知、電視的商業廣告、 網路上的文字或影音，馬路上快速移動的交通工具、高分貝的喇叭，以及各種店鋪陳列的商品等等。這 一切習以為常的景象，使我們很少將眼光留佇或僅給予漫不經心的一瞥。很多事物都是轉瞬即逝，我們 才剛稍微適應，下一秒它就產生變化，被另一種更新的物品或模式所取代。在這千變萬化的環境中，感

策展人︱林曉瑜 (國立臺灣美術館研究員)

官刺激永遠不虞匱乏，而我們如何在其中保持正確的判斷能力？或許，刻意剝奪某些感官體驗 (如去除 五感中的其中一感)，反而可以讓其它的感官更為敏銳，並提升它的感受力；又或者藉由某種訓練方式， 不斷提醒與逼迫使用某些感官，可將其效能提升至最大化，喚醒與激發我們原已具備的能力。

當代藝術的體驗在科技技術的快速升級下早已今非昔比，其中最能讓觀眾直接感受多重感官的運用， 應為沉浸式及互動式、參與式的藝術創作。以沉浸式藝術而言，創作者/團隊常在空間內運用大量的光 影、音效等，創造一個與現實有別的場景；其刺激感官的方式，多以滿溢的視覺和迷幻的聲響讓觀眾對 身體的感受失去平衡，由於這在日常生活中較難被體驗到，因此效果往往令人驚艷。而互動式或參與式 藝術創作，則要求觀眾與作品或作者產生關係，例如藉由觀眾的觸摸，引發作品的啟動機制，或是邀請 觀眾介入藝術家所設定好的流程或表演等。這類創作重視個人體驗的獨特性，但並不僅止於感官的外在 體驗，也在於結合個人的生活經驗，或是個人對特定議題的體驗。因此，當代藝術發展至今，觀眾已不 再侷限於做為一個旁觀者，也不再只是用眼睛欣賞藝術品。

沉浸式、互動式、參與式的藝術創作，提供觀眾更多元的藝術欣賞管道，以及五感、六感，甚至七感的 體驗。但事實上，藝術欣賞本身即是一種訓練知覺與感受力、觀察力的方法，特別是當藝術品被放置在 美術館空間內，無論我們是否有專業者(如導覽人員)的導引，當進入美術館觀賞或參與一件藝術品時， 我們總是會不自覺的專注與保持安靜，並且凝神觀察，以進入藝術家創造的世界。這或許是世人已熟知 美術館的參觀規定 (例如保持安靜與距離、不可觸摸、禁止跨越等)，然而這種對於參觀規定的遵守， 結合前述幾種邀請觀眾互動的藝術創作類型，也使美術館有機會成為一個特殊的感官訓練空間。

何以「瑜珈」?

「瑜珈」是一種廣受世人喜愛的活動，它源自於印度，發揚於歐美，漸次流行至全世界。很多人視瑜珈 為雕塑體態及改善身體狀況的運動，但實際上它更是對於心智的鍛鍊，必須藉由每日的練習，覺知自我 外在與內在的變化。坊間健身房與瑜珈會館開設各種名目的瑜珈課程(如「流動瑜珈」、「空中瑜珈」、 「太極瑜珈」等)，令人眼花撩亂，但事實上瑜珈始終只有一種，無論所學習的是哪種瑜珈，它都是帶 領我們前往不同方向的方法。

「瑜珈」一詞有幾種解釋，包含「與神合一」、「合成一體」、「聯結」、「將千絲萬縷的心念綁在一起」， 以及「獲得先前未獲得的 1」等。從這些意義觀之，「瑜珈」意欲達到的是一種結合身體與意識的超凡、 整體經驗，讓自己成為完整的人，而它的起點就在於「呼吸」，因此，任何人都可以修習瑜珈。此外， 在著名的《瑜珈經》中，印度哲人帕坦伽利(Patanjali)所論及的重要概念，即瑜珈是引導心識的能力， 他認為我們必須處理感知事物的方式，讓我們的心識不再倚賴於被無意識行為所堆積而成的習慣，使我 們的感知成為一面明鏡，以減少無明的遮蔽，做出正確的行動。因此，練習瑜珈的體位法，控制呼吸， 在連續的動作中保持專注，逐漸便可以影響並洞察自身，讓我們正確的感知以及無礙的觀看。

從上述有關「瑜珈」的解釋，不難理解為何這項運動(或訓練)在當代社會中如此受歡迎，因為它所強 調的是透過連續的肢體動作(身體力行)與不間斷的練習(日常修行)，達到內心的平靜與覺醒---這是 現代人所渴望達到的。而「藝術」的目的不也同此？在欣賞及參與藝術活動時，我們必須用感覺及身體 去感受，用大腦去思索作者想要傳達的訊息，當全神貫注的時候，我們會沉浸在某種情緒中，逐漸獲得 平靜，我們試圖透過觀察、覺知，將藝術連結到內心世界，並從藝術的感染力中獲得安詳、淨化的力量， 這種力量讓我們得以保持清明。因此，「瑜珈」與藝術，兩者都是在為我們的感受與知覺拂拭及拋光， 使我們回到純粹本真的狀態，讓心靈自主與解放。

藝術做為感官訓練的工具

在本展中，「瑜珈」指稱為藉訓練以接近本真的方法，藝術則做為訓練感官敏銳度的工具，美術館是訓 練的場所。展覽藉由邀請觀眾與作品及藝術家互動，專注於特定一種或同時使用兩、三種感官，並了解 藝術家創作的動機與意涵，進一步提升對藝術的感受，也就是從外在觀看連結到內在思維。因此，本展 所展出的17組作品，多數具有互動或表演性質，除了讓觀眾介入以親身體驗之外，每組作品隱含的當 代議題更值得深思及探討。

1 德悉卡恰(T.K.V. Desikachar)著，陳麗舟、朱怡康譯，《瑜珈之心》(The Heart of Yoga—Developing a Personal Practice)，(台北：大雁 出版基地，2016)，頁44。

一、嗅覺vs.人與自然的互動 彼得‧德庫佩瑞(Peter de Cupere)的《擦嗅畫系列》 (Sniff&ScratchPaintings)與裝置作品〈放鬆 (薰 衣草地毯)〉(Relax-LavenderCarpet)，為向藝術家伊夫‧克萊因(Yves Klein)致敬的作品。《擦嗅畫系列》 每件作品均為單一色彩，遠觀就像一幅幅的單色畫，但觀眾必須靠近並用手指摩擦刮畫，才能發現每幅 畫均具有與作品名稱相關的獨特氣味。而〈放鬆 (薰衣草地毯)〉則以乾燥的薰衣草籽鋪成地毯，由於 薰衣草具有安神、舒緩，甚至除蟲的效用，因此這件作品格外能使觀眾放鬆及進入冥想。彼得‧德庫 佩瑞意在使觀眾能夠有意識地察覺「氣味」，並透過以手刮畫藝術品留下痕跡，反思人類與大自然的互 動，是否也造成某些難以抹滅的痕跡？

同樣以「氣味」作為媒介的藝術家上田麻希(Maki Ueda)，則探討空間、嗅覺和行動的關係。《嗅覺迷宮》 是她自2013年開始發展的系列創作，建構一座以賞花為隱喻的迷宮。展場以簡煉的形式呈現日本人喜 愛賞櫻的概念，懸掛的小瓶子裝有不同濃度的花香精油，如同櫻花樹的隱身，觀眾必須在空間中穿梭遊 走，找到一個最適合「賞櫻」的位置。日人賞櫻歷史久遠，但櫻花的花期很短，因此每年的賞櫻季是人 把握體驗大自然及神聖之美的時刻。《嗅覺迷宮》以花香的氣味引領觀眾移動於空間中，並透過專注於 呼吸，找到讓自己靜心的方式。

二、視覺vs.出神狀態

林人中的作品〈看不見的肖像〉是一項行為表演，藝術家將自己的雙眼矇起，邀請觀眾在他對面坐下， 並為之進行肖像畫的繪製。在剝奪了視覺之後，藝術家如何感受一個人的五官以及捕捉他的神韻？可以 想像的是作畫者必然需要運用其他的感官如聽覺、觸覺、嗅覺以及想像力等，與被畫者產生某種關聯與 互動，從留意周遭細微的變化(空氣中被畫者的氣味、聲音、移動的方式)，判斷被畫者的形貌。這或 許是一種接近出神的狀態，因為判斷力的產生，是綜合了我們的感官、知識與經驗，融合為想像並逐漸 浮出某種影像。因此，留在展場中的繪製過程影像紀錄與完成的肖像畫，成為特別值得我們閱讀的訊息。

鬼丘鬼鏟的作品〈夜間動作、存檔失敗和過去的表演〉是基於2017年的演出計畫〈近古代臨摹〉，它 模擬1912年桑爾德蘭博物館的一張館藏照片，盲童進入博物館觸摸動物標本建立觸感圖鑑。在〈近古 代臨摹〉的表演中，表演者與觀眾進入一個全黑幾乎盲視的空間，表演內容包含催眠手勢、移動、清潔 動物道具與假裝睡眠，觀眾則在工作人員的帶領下配戴夜視鏡觀看。本次展出的版本，則是在360度的

環形空間呈現演出的影像紀錄。在這個錄像展出中，美術館內的參觀民眾雖缺席於2017年的演出現場， 卻同樣能感受到在幾近失去視覺以及催眠師的聲音引導下，我們的視點該如何聚焦以確認存在，或是就 進入放鬆冥想的狀態？

三、味覺vs.生命記憶與生活壓力

烹飪及美食的療癒效果是我們所熟悉的，每個人都有自己難以忘懷的某道食物或料理，它與生活的經驗 及記憶密切相關。程仁珮創作了一系列與味覺有關的參與式及行為表演作品，探討人類的飲食文化，而 〈食譜演化運動〉透過訪談、調查、實作、分享，召喚受訪者的故事與內心深層的記憶。藝術家以外籍 配偶為對象，逐步引導他們敘說自己因婚姻來到台灣的故事，並觸動他們對最想念的家鄉味之回憶。透 過程仁珮的提煉與萃取，將每則故事揉合為一件細緻的攝影與一道耐人尋味的食譜，在此我們也察覺異 國婚姻逐漸為本地社會所注入的影響，表現在飲食/味覺的改變，並深思飲食在政治、經濟、文化中的 作用。

而以食物設計為專業的陳小曼，則探討人類為了追求完美體態而產生的厭食症。厭食症的出現在歷史上 由來已久，但直至近代大家對它的認識才漸趨明朗；在社會崇尚苗條歧視肥胖的風氣下，厭食症的患者 對於體重的控制特別自覺與焦慮，心因性的壓力使他們再無法正常進食，這也呼應當代社會的媒體訊 息，往往引領輿論風向，造成群眾或特定人士的壓力。陳小曼的〈Table for Miss A〉計畫，以訪談、文件、 檔案呈現厭食症的現象，此外她也發展一套具有七道食物的體驗計畫，以分子料理的概念，打破我們對 既定料理的印象，並體驗厭食症患者面對美食卻無法下嚥的感受。觀眾在互動過程中，除重新察覺自我 對味道判別的正確性，對於心因性失調及壓力的產生與調節也有新的認識與體會。

四、聽覺與身體感vs.身心的協調性

韓國藝術雙人組申承帛與金容勳(Shinseungback Kimyonghun)提供了一個紀錄觀眾心情的空間，藝術 家特製的15個海洋鼓裝設於展場中，透過監視攝影機的擷取與程式運算，進入展間的觀眾面部狀態將 被記錄下來，觸動並影響海洋鼓所發出的海浪聲。這可視為一件集體創作的作品，100個最近進入展間 的觀眾，他們的思緒、心情，既影響海浪也受海浪所影響，正如我們在憂鬱或快樂的時候，總會想接近 大海，而不同心情下看到的海似乎也有不同的樣貌。在這件作品中，觀眾必須觀察自己的情緒變化，並 感受海浪帶來的療癒與平靜。

另一方面，藝術雙人組lololol的作品則透過「道」思想的身心技術，觀察現代人與文明、自然的共生 方式。從臺灣公園中常見的武術晨練為發想，林亭君的〈3C形意拳〉以工作坊及展演形式，帶領觀眾 想像自己為一件3C產品，並模仿3C產品的外觀與運作機制，發展形意拳法。作品點出現代人對數位 科技的重度依賴，但藝術家卻將這種依賴反轉為一套有益身心的運動。而雀榕的《調音帖》則觀察植物— 藥材—中醫—人體—自然—社會的互動，探索區域性的生態與文化場景，並開拓個人以植物為媒材的寫 作形式，提出對社會的調音方式。《未來道：實景遊園》則以戶外公園設計一套散步路徑邀請民眾參加 遊園活動，並在藝術家的帶領下聆聽、觀察環境，彼此交流與分享。在lololol的創作中，不僅以身體 感的介入對個人提出身心和諧的方法，也探討我們應如何藉由身體力行，將當代文明的偏離拉回正位。

本展的籌辦及展出過程中，正逢全球面臨新型冠狀病毒爆發及傳播的危機，媒體每日轟炸式的報導確診 與死亡人數、各地的封城或隔離措施、口罩的大幅缺貨等負面消息，造成人心惶惶的社會氛圍。在這樣 的狀態下，保持身心的和諧與清明的判斷力格外重要。Victor Turner認為美術館是一種外在或「穿透或

介於正規、日常生活中的取、予過程中的文化和社會狀態 2」。因此，美術館是一個使我們得以從日常 生活暫時解脫、遁離，進入對於美的冥思與追尋的空間，在此可以接近藝術，感受藝術的渲染力，超越 時間和空間，獲得一種新的經驗與視野。而「感官瑜珈」正是以美術館為場域，打破觀眾與作品、藝術 家之間的距離，藉藝術訓練觀眾擴張感受力，讓觀眾參與其中時得以調息、淨化、冥想，甚至覺醒。值 此時刻，期待藝術的療癒功能雖不及醫藥受重視，卻是一帖保健心智的良方，讓我們得以揭開無明，看 到被蒙蔽的清明狀態，尋回純粹的自我意識。

a Personal Practice)，(台北：大雁出版基地，2016)， 頁44。

2 Victor Turner，陳麗舟、朱怡康譯，《瑜珈之心》(The Heart of Yoga—Developing

Sensory Yoga: The Sensory Experiences and Training in Contemporary Art

Introduction

Rapid information transfer has always been on humankindʼs agenda throughout the history of civilization. In view of the mass media evolution from radio, cinema and television to webcast today, we realized that immediate access to information without temporal restriction has become an imperative. “Speed ” brings us a frisson of excitement. Human beings have become enmeshed in an endless loop due to such sensory indulgence, desirous of faster circulation of a larger amount of information. In this situation, we have no choice but to adjust our body and mind according to the changing world, insofar as to adapt to the hectic pace of life nowadays.

Human beings have extremely sophisticated senses. We tend to experience and understand the world through several senses simultaneously. However, the long-term infoxication has inevitably numbed or dulled our senses. The question ergo arises as to whether we, by virtue of artistic experiences and training, can restore our bodymind balance and meanwhile sharpen our senses.

If our answer to this question is “ yes, ” then an art museum dedicated to arts exhibition and promotion is sure to be a truly advantageous training facilities, which is also the primary motivation behind the exhibition “Sensory Yoga” at the National Taiwan Museum of Fine Arts. Therefore, this article starts from the perspective of an art practitioner, aiming to investigate whether the visitors can reclaim their perceptual abilities and develop their spiritual awareness by admiring and interacting with the exhibits in the museum.

Connecting Sensory Training with Arts and Art Museums

We grasp the world through our eyes, ears, nose, tongue, body, and mind. The ensuing sensory experiences work in tandem with our educational and cultural backgrounds as well as the messages we received to form our judgements. Normally, we must use multiple sense organs at the same time to gain the complete picture. Having a meal, for example, entails the coordination between vision and olfaction. First of all, the eyes see the appearance and the nose smells the aroma of the food. Then, by reference to our real-life experiences and the two kinds of senses, we can judge the quality of the food (palatable or barely edible). Yet, we donʼt know whether the food conforms to our expectations until we taste it.

In our quotidian existence, no sooner did we wake up in the morning, than our sensory organs started processing information of all stripes from the ever-changing environment that serves as an inexhaustible source of sensory stimulation. Thus, how can we avoid errors of judgement? Perhaps we can heighten some of our senses at the expense of the rest. Or, we can train ourselves intensely to use certain sense organs, so as to maximize their efficiency and activate our inherent abilities.

Of all forms of contemporary art, none are so directly appealing to the viewers ʼ multiple senses as immersive, interactive and participatory works. Take immersive art for example. Artists have shown a tendency of employing oceans of audio-visual effects to create kaleidoscopic worlds beyond reality that constantly challenge the viewersʼ physical perception. With regard to interactive and participatory works that set great store by the uniqueness of personal experiences, the connection between the viewers and the works or the artists is a necessary commodity. Over the course of contemporary art development, the viewers are as a result no longer spectators who admire works of art merely with their eyes.

Immersive, interactive and participatory works appeal to the viewers ʼ five senses, extrasensory perception, and even the seventh sense. In essence, art connoisseurship is little more than a training method for conscious perception and observation. Particularly when admiring artworks in a museum, we tend to observe them in an unconsciously concentrated, silent manner. Art museums are very likely to become sui generis sensory training facilities by dint of the visiting notices and the aforementioned contemporary art forms.

Why “Yoga”?

“ Yoga ” is a universally popular practice which originated in ancient India, thrived in the Occident, and then becomes fashionable around the globe. Many people construe yoga as a set of exercises for better physique and health, yet it is more about mental and spiritual disciplines that entail daily practice in perceiving the changes in the inner self and the outer world.

The word “ yoga ” can be interpreted as “to become one with God,” “to unite,” “to come together,” “to tie the strands

of the mind together,” and “to attain what was previously unattainable.” 1 From these interpretations, we may infer that practicing “ yoga ” is to unify the trinity of body, mind and spirit, to make oneself a complete human being. The practice of yoga begins with “breathing,” and therefore everyone can be a practitioner. In addition, the famous Yoga Sūtras by Indian philosopher Patañjali introduced an essential concept: yoga is the ability to guide manas (mind). More specific, Patañjali argued that we must refine our way of perception, insofar as to protect our mind from the force of habit generated by unconscious conducts; and thus we are able to take proper actions. Accordingly, by practicing yoga, during which we have to control the breath and maintain concentration on the continuous movements, we can gradually guide our sensory perception in the right direction and see the true colors of everything.

The abovementioned interpretations of “ yoga ” indicate that it puts a premium on achieving inner peace and awakening through continuous bodily movements (i.e., actual efforts, devotion) and unremitting labors (i.e., daily practice), which is doubtlessly a desired state of life for modern people. Isnʼt it a dead ringer for the raison dʼêtre of art? We may be deeply absorbed in artworks and art events, in which we not only tie art to our inner world via observation and perception, but also draw spiritual sustenance from the purifying pathos of art. In sum, both yoga and art are sharpening and polishing our feelings and senses, hence the separation of the authentic, eternal conscious self from unconscious matter, as well as the emancipation of the mind from the secular world.

Art as the Sensory Training Tool

This exhibition treats “ yoga ” as a training method for attaining the authentic, eternal conscious self, with art as the training tool and the museum as the training facility. The visitors are encouraged to interact with the exhibits and the participating artists, so as to enhance their enjoyment of art. It implies connecting external viewing to inner thinking. Against this background, most of the 17 works featured in this exhibition are interaction- or performanceoriented. Besides, the contemporary issues covered by each of these works are worth further reflection and investigation.

1 T.K.V. Desikachar, The Heart of Yoga: Developing a Personal Practice (Rochester, Vermont: Inner Traditions, 1995), p. 5.

1. Olfactory Sense vs. Humanity-Nature Interaction

Peter de Cupereʼs Scratch & Sniff series looks like monochrome paintings from a distance. The viewers will not smell the scent reminiscent of the title of each piece until they approach it and scratch its surface with their fingers. His Relax (Lavender Carpet) appears to be a carpet made of dried lavender seeds whose soothing, alleviating effects can facilitate the viewers ʼ relaxation and meditation. The artist expects the viewers to consciously discern the “ scents ” and, by scratching the works with their fingers, reflect on the question as to whether their activities in the world have left indelible imprint upon nature. Maki Ueda tackles the relations among space, olfaction and action. Olfactory Labyrinth is an art series she initiated in 2013. The Japanese predilection for cherry blossom finds expression in the minimalist form of this series. The suspended small bottles contain floral essential oils of different viscosity. They are nothing short of cherry trees incarnate. The viewers need to shuttle amidst these bottles and find the best position for hanami (cherry blossom viewing). The annual cherry blossom season allows the Japanese to experience the divine beauty of nature. Olfactory Labyrinth employs floral fragrance to guide the viewersʼ movement, and the viewers can find inner peace by concentrating on their own breaths.

2. Visual Sense vs. the Mindʼs Eye

In his work Invisible Portraits, River Lin blindfolded himself and drew a portrait of the viewer sitting directly in front of him. With his eyes covered, there was no other way than resorting to his hearing, tactile and olfactory senses, along with his creative imagination, to relate himself to or interact with the viewer, insofar as to speculate the protagonistʼs appearance. It may be said that Lin drew the portrait by relying on his mind ʼ s eye, since judgement rests mainly on the imaginary images derived from the integration of senses, knowledge and experience. The video of the drawing process and the finished portrait displayed at the venue ergo carry thoughtprovoking information worth further interpretation.

Night Gestures, Failed Archive, and the Past Performance is a performance staged by Ghost Mountain Ghost Shovel in 2017, simulated the fascinating early photographs collected by the Sunderland Museum blind children visiting the museum and experiencing the animal specimens through touch. In this performance, the performers and the viewers entered a completely dark space. Situated in a state resembling blindsight, the viewers wore the night vision devices specific for the show under the guidance of the staff. The version presented in this exhibition is a video of the performance projected in a panoramic space. The visitors to this exhibition, being absent from the performance in 2017 though, are as much spellbound by the pitch darkness and the hypnotistʼs voice in this video, confronting the dilemma between striving to focus and relaxing into meditation.

3. Gustatory Sense vs. Memory of Life and Daily Stress

We are all too familiar with cuisine and gourmet food. Everyone has his/her favorite food or dish that retains a remarkable hold on his/her mind, and it is inextricably woven with oneʼs real-life experiences and memories. To create her work Recipe Evolution Movement, Cheng Jen-Pei instructed several foreign spouses in Taiwan to recount their own marriage stories by means of interview, survey, practice and sharing that evoked their nostalgic yearning for the taste of home. Cheng ingeniously blended each story into an exquisite photograph and a recipe worth thinking over. This work not only reveals the influence of interracial marriage on the local society and its manifestations in the change of diet/taste, but also prompts the viewers to reflect on the role of diet in politics, economy and culture.

Specializing in food design, Slow Chen investigates anorexia, an illness resulted from pathologic pursuit of ideal physique. Under the social value system that advocates slenderness and discriminates against obesity, sufferers of anorexia tend to be overly sensitive and anxious about their own body weight. As a symptom of the psychogenic stress, they can no longer eat normally. This phenomenon also mirrors the contemporary media framing that causes the public or specific groups great stress. Apart from representing anorexia with interviews, documents and archives, Chenʼs project Table for Miss A also contains an experiment comprising seven tasty dishes. The participants can feel empathy for the suffering of anorexia patients. In such interaction, the viewers will not only reconsider whether they can make accurate judgement about taste, but also gain a deeper understanding of psychogenic disorders and stress management.

4. Auditory Sense and Corporeality vs. the Body-Mind Harmony

Korean artist duo Shinseungback Kimyonghun created a spatial installation capable of recording the viewersʼ emotions. The two artists customized a total of 15 ocean drums and installed them in the venue. The facial expressions of the viewers in the venue will be captured by the security camera and processed by the computer programs, which will then trigger and dictate the sound of the lapping waves emitted from the ocean drums. The thoughts and emotions of the recent 100 visitors will affect the sound of waves and in turn influenced by it. When admiring this work, the viewers need to pay attention to their own emotional fluctuation, and meanwhile bask in the healing, tranquil lapping of the waves.

On the other hand, artist duo lololol offers perceptive observations on the symbiotic relations among modern people, civilization and nature by reference to Daoism. Ting-Chun Linʼ s 3C Xing Yi Quan invites the viewers to construe themselves as electronic products and develop a specific style of martial art by imitating these productsʼ appearances and mechanisms. This work points out modern people ʼs undue reliance upon digital technology, yet the artist innovatively transmuted such reliance into a healthy sport. Ficussʼ Prescriptive Scores delves into regional ecology and cultural scenes to evolve a one-of-a-kind style with plants as the creative media, based on which the artist proposes a method for tuning our society. Future Tao: City Park, the work by lololol in this exhibition, maps out a promenading route in an outdoor park. Under the artistsʼ guidance, the participants will observe and listen to the environment, and then exchange and share their feelings with one another. The work suggests not only a method for our body-mind harmony via corporeal intervention, but also a way to get the deviating contemporary civilization back onto the right track by exemplification.

Conclusions

The preparation and duration of this exhibition coincide with the outbreak and spread of COVID-19 that throw people into panic. Maintaining body-mind harmony and shrewd judgement have become imperative in this crisis situation. Victor Turner 2 held that art museums represent a mode of consciousness outside of or “betwixt-andbetween the normal, day-to-day cultural and social states and processes of getting and spending.” Accordingly, art museums provide us with a temporary escape from humdrum routines into meditation and pursuit of aesthetics. “Sensory Yoga” is exactly a museum-based exhibition that blurs the boundaries among the viewers, the works and the artists, dedicated to helping the viewers sharpen their senses so that they can nurse and purify themselves as well as meditate and even awake to the truth when interacting with the mesmerizing exhibits. Although the healing power of art is not as much positively valued as that of medicine nowadays, we find it fairly effective in restoring our personal health, providing antidotes to ignorance, and keeping us sober-minded, from which we can see the authentic, eternal conscious self on the horizon.

藝術家作品圖版

Plates with Artists’ Statements

程仁珮

Cheng Jen Pei

《食譜演化運動》這系列作品紀錄臺灣當今人口結構改變的狀態，民族融合在不同階段也有不 顯現著相異的社會活動。臺灣跨國婚姻中的人們，從個人之間的交換互動，擴及至文化間的互 換關係，其範圍廣至政治、經濟、國際趨勢等層面，藝術家透過想像製作創新的食譜組合，經 由食譜重組來強調人文演化，在食物攝影畫面中以「受訪者個人經驗」與「日用飲食」構成這 件創作裡重要元素，察覺多元民族在飲食合併中漸變的程序，重新定義文化碰撞中食物組合的 新姿態。

《食譜演化運動》攝影系列成為故事素材，藝術家透過每一則採訪內容，將會選取適合的素材 轉換成攝影作品。受訪者的回答與故事，亦將作為臺灣當代漸漸走入多元民族時代的考察資 料，作為民間口述歷史上寶貴的採樣。

食譜演化運動：鏡山境｜2018-2019｜攝影輸出、空間裝置｜攝影輸出(80x120公分)、 文件故事(80x120公分)｜尺寸依展出場地而異｜藝術家提供

Recipe Evolution Movement: Mirage Mountain, 2018-2019. Photography and space installation. Photography (80x120cm), archive (80x120cm) and space installation. Dimensions variable. Courtesy of the artist.

食譜演化運動：稻田花｜2018-2019｜攝影輸出、空間裝置｜攝影輸出(80x120公分)、 文件故事(80x120公分)｜尺寸依展出場地而異｜藝術家提供

Recipe Evolution Movement: Paddy Field Flower, 2018-2019. Photography and space installation. Photography (80x120cm), archive (80x120cm) and space installation. Dimensions variable. Courtesy of the artist.

Recipe Evolution Movement is an art series dedicated to addressing the contemporary phenomenon that Taiwan is metamorphosing into a multi-ethnic society, with a particular focus on the question as to "how racial integration, along with the ensuing hybridized culture, is embodied in the modalities of food." This is series draws an analogy between integration of food cultures and the multi-ethnic structure of the contemporary world.

Getting off the ground in 2018, this art project contains interviews with six foreign spouses in Taiwan, recording not only their dietary habits and tastes after they settled down on this island, but also the dishes on their respective dining tables. The artist thus identified the culture-induced dietary differences in each family, and further designed six recipes that blend the distinctive flavors of the interviewees' hometowns with Taiwan's

One who has a cross-cultural marriage not only interacts with his/her spouse at the individual level, but also engages in broader cultural exchange in various aspects such as politics, economy, and international trends. Exercising her fertile imagination, the artist created innovative recipes that highlight the dimension of humanistic evolution by reorganizing existing ingredients. Treating "the interviewees' personal experiences" and "daily diets" as the essential elements of the food photographs in this series, the artist sensed the gradually changing habits and tastes in the dietary fusion of different cultures, according to which she redefined the role of food in culture clashes. (Text/Cheng Jen Pei)

食譜演化運動：甘露霜｜2018-2019｜攝影輸出、空間裝置｜攝影 輸出(80x120公分)、文件故事(80x120公分)｜尺寸依展出場地 而異｜藝術家提供

Recipe Evolution Movement: Sweet Forest, 2018-2019. Photography and space installation. Photography (80x120cm), archive (80x120cm) and space installation. Dimensions variable. Courtesy of the artist.

食譜演化運動：金浪花｜2018-2019｜攝影輸出、空間裝置｜攝影 輸出(80x120公分)、文件故事(80x120公分)｜尺寸依展出場地 而異｜藝術家提供

Recipe Evolution Movement: Gold Flower Wave, 2018-2019. Photography and space installation. Photography (80x120cm), archive (80x120cm) and space installation. Dimensions variable. Courtesy of the artist.

食譜演化運動：暖風甜｜2018-2019｜攝影輸出、空間裝置｜攝影輸出(80x120公分)、 文件故事(80x120公分)｜尺寸依展出場地而異｜藝術家提供

Recipe Evolution Movement: Sugary Warm Wind, 2018-2019. Photography and space installation. Photography (80x120cm), archive (80x120cm) and space installation. Dimensions variable. Courtesy of the artist.

食譜演化運動：一院香｜2018-2019｜攝影輸出、空間裝置｜攝影輸出(80x120公分)、 文件故事(80x120公分)｜尺寸依展出場地而異｜藝術家提供 Recipe Evolution Movement: Aromatic Courtyard, 2018-2019. Photography and space installation. Photography (80x120cm), archive (80x120cm) and space installation. Dimensions variable. Courtesy of the artist.

陳小曼

Slow Chen

19世紀時，維多莉亞時期的少女們時常患有在當時被稱為「歇斯底里症」的 疾病，此名稱源於古希臘，當時的人們普遍認為這是由女性子宮紊亂所導致。

儘管在禁慾主義盛行的16世紀的修道院中，當時卻被認為是神聖的修道成果； 17世紀英國文獻已有相關記載，但直至1868年， William Gull 才系統性地對 當時的四位女士病症做觀察、研究、治療。

文獻中史上最早以厭食症被記錄的A小姐，17歲時僅有37公斤、已停經一年， 狀態疲老。她幾乎不進食，並時常處於躁動狀態；除此之外，其他生理狀態與 常人無大差異。

二十世紀以降，社會對於厭食症的認識漸趨明朗，卻也在80年代因為電視的 普及、西方娛樂圈大量透過媒體倡導的模特文化，將厭食患者的數量與狀態推 向了巔峰。從十六世紀至今多半為女性患者居多，亦與父權社會息息相關；然 而千禧年後興起的健美風潮與社群媒體轉移，男性的厭食症狀也逐漸攀升。

本次〈Table for Miss A〉計畫，將試著透過一場「吃」的體驗，碰觸到這個社 會中普遍存在但鮮為人討論的議題，翻轉多數在進食條件中習以為常的「色香 味」、「歡愉」、「幸福感」，轉化 Eating disorder 患者在社會中面對的失序 與壓迫，進而碰觸到心因性失調背後盤根錯節的當代社會結構。

The maidens in the Victorian era of 19th century Britain tended to be plagued by the illness called “hysteria,” a term originated from ancient Greek when the Greeks generally considered it a consequence of uterine disorder.

However, hysteria was construed as a divine achievement of monasticism when asceticism prevailed among monasteries in the 16th century. The literature concerning this subject could be found in Britain as early as the 17th century. Nonetheless, it was not until 1868 that Willian Gull started to systematically observe, study, and treat the symptoms of hysteria displayed by four ladies.

According to the literature, Miss A was the first patient diagnosed and recorded as anorexia. Aged 17, she was only 37kg in weight and experienced menopause for one year, which put years on her. Losing appetite for food, she was in a chronic state of agitation. Except that, she was little less than an ordinary person in terms of physiology.

People have acquired a growing understanding of anorexia since the 20th century, yet the patient number and manifestations of this illness peaked in the 1980s due to the popularization of television as well as the fashion-model culture fostered by the occidental entertainment industry via mass media. From the 16th century to date, females have constituted the majority of anorexia sufferers, which is closely associated with patriarchy. It is noteworthy that anorexia has also afflicted a growing number of males with the new fad for bodybuilding and the emergence of social media since the millennium.

The project Table for Miss A seeks to address the elephant in the room by dint of the experiment of “ eating, ” in which the experiences of “ delight, ” “ sense of happiness, ” as well as “ color, aroma and taste” that people take for granted during eating will be subverted, and the disorder and oppression that anorexia patients suffer in the society will be transmuted, so that it can expose the intricate contemporary social structure behind such psychogenic disorder.

Table for Miss A

Table for Miss A, 2020. Food ingredients, paper documents. Dimensions variable. Courtesy of Slow Food Design.

鬼丘鬼鏟

Ghost Mountain Ghost Shovel

二〇一七年十二月七日至九日夜間七點 至九點間，五名互不相熟的匿名成員在 全然漆黑的舊工廠廠房內進行表演，內 容包含七種催眠手勢、移動、清潔動物 道具與假裝睡眠。表演現場有配戴夜視 器材並且分組進入之觀看者、工作人 員、攝影師以及聲響。表演過程由紅外 線監視器進行紀錄；隨後，並由催眠師 為表演者進行遠距催眠，協助回溯並且 檔存黑夜行動之記憶。由於擔憂遠距催 眠的失敗造成傷害，表演者並沒有成功 回想記憶。

On December 7, 2017, from 7pm to 9pm, five anonymous members that did not know each other performed in a pitchblack old factory. The performance comprised seven hypnotic hand gestures, movements, cleaning animal props and fake sleep. At the performance site were viewers, who wore night-vision devices and entered the space by group, along with the staff, photographer and sound. The performance was documented through infrared surveillance cameras. Afterwards, a hypnotist conducted a long-distance hypnosis on the performers, assisting them to retrieve and archive the memories of performing in the absolute darkness. Fearing that the long-distance hypnosis might be harmful, the performers did not successfully follow the process.

lololol [林亭君、雀榕]

lololol [ Xia Lin and Ficus S ]

lololol 發起的「未來道」（Future Tao）是以 道思想的身心技術為起點，探究現代人和物的 存在模式。最初靈感來自於臺灣的公園文化， 透過參與武術晨練與社區民眾的交流，觀察古 今科技技術如何在各種文明議程交縱的環境中 共生。

此次呈現林亭君《3C形意拳》和雀榕《調音 帖》系列創作為兩種截然不同的藝術實踐，分 別貼近道家五術中的「仙」和「卜」。「仙」 為注重物心兩面的占術，林亭君透過武術拳法 的開發尋求與科技物的身心和諧。而「卜」用 於推算天地人間情勢的技術，雀榕以觀察物體 之狀態去揭示時代的社會條件和事物演變。

林亭君的《3C形意拳》是一套開源協作的新 內家拳法，那些充斥在日常生活中的各種數位 科技產物已構成新的自然環境，通過身體行為 和精神意會，轉換我們對當代技術物的認知與 關係。2017年起林亭君以集體開發工作坊及 展演活動的形式與不同族群交流，累積的大眾 身體經驗逐漸霧化為另一種通感路徑。

雀榕長期進行的譜寫計劃《調音帖》使用她自 2013年以來從她與植物 藥材 中醫 人

體 自然 社會的一連串互動中所發展出的 有機形態的寫作，此次《調音帖 矽谷》藉 由親身體會的都市科技環境提煉出一系列的調 音帖，是對當今社會趨勢的一種診斷。

lololol 的《未來道：實景遊園》是根據當地公 園的獨特型態特別企劃的路徑引導活動。透過 集體的移動、觀看聆聽與參與式的交換分享， 打開新連結。藉我們將公園視為當代生活方式 獨特的社會空間，各種人群網路聚集、流動， 自我組織無形領域，形成有機的都市生態。

3C形意拳：程序｜2020｜三頻道錄像裝置｜12分鐘｜藝術家提供 3C Xing Yi Quan: Procedure, 2020. Three-channel video installation, 12 mins. Courtesy of the artist.

｜2020｜現地製作多媒體裝置、導覽｜尺寸依展出場地而異｜藝術家提供 Future Tao: City Park, 2020. Site-specific multimedia installation and guided tour. Dimensions variable. Courtesy of the artist.

3C形意拳｜2017｜開發工作坊、空間裝置、檔案｜尺寸依展出場地而異｜藝術家提供 於「第十五屆貝里克電影與媒體藝術節」現場照，攝於英國貝里克城牆公園，2019

3C Xing Yi Quan, 2017. Development workshop, space installation and archive. Dimensions variable. Courtesy of the artist. Image taken at “the 15th Berwick Film & Media Festival,” Berwick Castle Park, Berwick-upon-Tween, UK, 2019.

1. 未來道：實景遊園

2.

“ Future Tao ” launched by lololol refers to a series of Taoist-informed practices for mind and body cultivation to explore the existence modes of modern people and objects. The project is inspired by interactions with people joining morning martial art practices in Taiwan ʼ s parks, through which the artists observe how modern technology and ancient techniques co-exist in an environment where a wide range of cultural agenda intersects.

On view in this exhibition are Xia Lin ʼ s 3C Xing Yi Quan and Ficus S ʼ s Prescriptive Scores , which represent two utterly different art practices and are respectively inspired by two of the five Taoist arts, “ the Alchemy of Immortals ” (仙) and “ Divination ” (卜) . The former focuses on the integration of objects and the mind, regarding which Lin seeks harmony between the human body, mind and technological artifacts through the development of martial arts. The latter, on the other hand, centers on surmising circumstances in this dynamically changing world. In response to this, Ficus S observes the states of things to reveal the social conditions of our time and the changes of things.

Linʼs ongoing project, 3C Xing Yi Quan is an open-source new style of internal martial arts. It employs physical training and spiritual awareness to transform our understanding and relationship with contemporary artifacts in this “ new natural environment ” of our everyday life informed by all sorts of digital technologies and products. Since 2017, Lin has continually organized group workshops and performances to engage and interact with different communities, through which she accumulates peopleʼ s body experiences before refining them to form an alternative route of sensibility.

Ficus Sʼs ongoing project, Prescriptive Scores, comprises writings in an organic form based on her interactions with the chain of plants-herbs-herbal medicine-bodynature-society. Prescriptive Scores – Silicon Valley reveals a series of prescriptions refined from the urban technological environment experienced in daily life, and serves as a diagnosis of contemporary society.

Future Tao: City Park created by lololol is a special project that adopts the unique form of guided tours through local parks. Through collective movement, observation, listening and participatory sharing and exchanging, the project aims to generate new connections. Using parks, a distinctive social space in contemporary life, the project gathers and creates flows of different people via internet, self-organizing an invisible territory while forming an organic urban ecology.

調音帖―矽谷｜2020｜文件、標本、多媒體裝置｜尺寸依展出場地而異｜藝術家提供 Prescriptive Scores – Silicon Valley, 2020. Document, specimen, multimedia installation. Dimensions variable. Courtesy of the artist.

上田麻希

Maki UEDA

體驗

此作是《嗅覺迷宮》系列創作的第四版。一場從 2013年對空間、運動、嗅覺而展開的探索。一 座以賞花為隱喻的迷宮。

賞花（日文：花見）是每年初春為欣賞櫻花盛開 舉辦宴飲慶祝的日本傳統習俗。參觀此作的訪客 們需要「隨著氣味找出賞花的最佳位置」，越接 近看不見的櫻花樹時，氣味會越發濃烈。

Experience

This is the 4th version of my Olfactory Labyrinth Series, exploring space, movement and olfaction started in 2013. It is a maze with a metaphor of ohanami.

Ohanami is the Japanese traditional custom of picnic party for enjoying cherry blossoms in early spring. “ Find the best spot for ohanami, with the sense of smell”, is the assignment to the audience. As you get closer to the invisible sakura (cherry blossoms) trees, it smells stronger.

Dimensions Variable. Courtesy of the artist. Image taken at Japan House São Paulo on June 4 to Oct 21, 2018.

技術性訊息

現場有81個裝著香精油的小瓶，由與瓶子固定的蠟燭繩呈9x9的網格狀從天花板垂掛下來。 香精油被蠟燭繩吸附後，其氣味便散擴在空間中。香精油氣味的濃度在離瓶身35公分處就可 以聞得到，因此每個網格的涵蓋面積是70x70公分，寬度剛好讓一個人可以邊聞邊走。為了達 到上述目的，溶劑乃依照下列比例精準調和：乙醇80%（發散屬性）／丙二醇20%（固定屬性）。

這個版本是以研究心理物理學的韋伯－費希納定律為基礎：該定律表明物理刺激的實際變化和 感知變化之間的對數關係。此作經過多次實驗得到的結果是，濃度會分3個階段以33的倍數

增強：(1) 10.00% (2) 0.33% (3) 0.01% (4) 0.00%。

櫻花的香味是我自己配製的，我嘗試調出接近夜櫻的香氣，那種默默散逸的輕柔粉味。

這項製作的最後一個步驟是色彩的組合。濃度越高，顏色越深，所以每種濃度都會需要進行調 色，才能賦予其視覺性的表象。

Technical Facts

There are 81 bottles hanging from the ceiling in the grid of 9x9. Each bottle contains fragrant oil. The candle rope by which it hangs from the ceiling gradually absorbs the oil and spreads the scent around the space. The oil is just strong enough to be smelled from 35 cm distance. Each grid is thus 70 cm, just wide enough for a person to walk through while smelling. In order to make it possible, the solvent is carefully calibrated as follows: ethanol 80% (emitting property) / propylene glycol 20% (fixative property) .

This version is inspired by The Weber-Fechner Law on psychophysics: the logarithmic relation between the actual change in a physical stimulus and the perceived change.

The concentration increases in 3 steps in multiple of 33, as a result of many experimentations: (1) 10.00% (2) 0.33% (3) 0.01% (4) 0.00%

The fragrance sakura is composed by myself as well. I tried to resemble it to the blossoms in the night, which emits very soft and powdery scent in silence.

The last step of the development is composition of colors. The higher concentration has darker color, so there needs color adjustment by each concentration, in order to mask the concentration visually.