The Delilah Project [Tear Simulator]
In a recent study, science shows us that humans are responsive to chemical signals like other members of the mammalian species. One clinical trial applied the emotional tears of women to the upper lip of men. These men experienced a decrease in testosterone levels without witnessing the act of crying. In our daily lives we are constantly receiving information on an invisible and olfactory basis. Is it possible in the near present future to mass-produce chemosignals that can be used to decrease aggression in humanity?
In the future, in a world where emotions of sorrow are valued high, tears are coveted for their use as means of pacification. The demand for copious quantities of emotional tears has pushed scientists to recreate human tears within the context of a laboratory. The tear simulator is an analogy of tear production within the human body and production on a large scale. By alluding to biomimicry rather than today’s pharmaceutical industry, I suggest a hopeful future where humanity functions as a cycle rather than a post industrial revolution archetype.
Is it possible in the near present future to mass-produce chemosignals that can be used to decrease aggression in humanity? By uncovering invisible infrastructures and undetectable aspects that surround us on a daily basis, we discover the potential of what already exists within ourselves.
I created a series of custom glass bulbs that accept the face with an scent diffuser attachment. By using scent as a mechanism to recreate an experience, with little to no visual cues, I am challenging western cultures’ hegemony of an ocular centric paradigm. Through research and experimentation I gathered that scent is an enigma and very personal entity. In attempts to appeal to an international demographic I recreated the experience of camping. Three custom glass bulbs with shapes that accepted the face with atomizers that distributed three distinct odorants (bonfire, soil, and whiskey).
A labyrinth of interactive installations realized by an exhibition at the Royal College of Art, Henry Moore Gallery.
This exhibition carries on the spirit of the bathhouse as a creative social environment, serving as a site of architectural and technological innovation, as well as a platform for community discourse and interaction. Taking its form from the structured progression of the traditional spa, “A Day at the Spa” has been conceived as a cohesive, yet fractured citadel of the senses, containing a multiplicity of interpretations of “relaxation” as a dynamic, liminal process.
The exhibition functions as a showcase of ideas, an experimental playground, and radical form of “therapy” for its visitors, taking place on the tenuous wavelength between disorientation and comfort; self -expression and collapse. It is therefore also an invitation for visitors to plunge themselves within the sensorial potential these environments possess, participating in a public ritual of release.