EXPERIMENTATION

What Goes On In Your Head?

Let’s start with some questions. R+ + you = what? What would you do for dopamine? What goes on in your head? What goes on in your teenager’s head? The last question was focus of workshops run by artist Jim Lockey, and the culmination was What Goes on in Your Head?, an installation and talk on behaviour and the brain.

The installation presented a range of answers to this question from the teenagers that took part. The art and words they created ranged from the direct and light-hearted to the profound. The installation aimed to show that when we ask a teenager this directly, or in the form of an exasperated rhetorical monologue, the answer is more complicated than you might think.

Tracy Mapp, an expert in the field of behaviour management, built on this with research about the growing teenage brain, paying particular attention to several areas. The first was the relationship between a person’s behaviour and the behaviour of those around them. The second was on dopamine and a teenager’s high senstivitity to it, as well as its implications for behaviour. What Goes on in Your Head?also looked at the changing structure of a teenagers’ brain, at the process of synaptic pruning in operation that takes the brain from a child to an adult. Moving on to consider ways of changing behaviour, Mapp challenged the view of punishment as an effective technique and explored instead the power of positive reinforcement - otherwise known as R+.  What Goes on in Your Head? explored behaviour; it’s origins, it’s influences and techniques to change it using science and experience.

-       Dave Horn

 

Links relevant to this diagnosis:

Why Is Synaptic Pruning Important for the Developing Brain?Scientific American

Swedish Speed-Camera Pays Drivers To Slow DownWired

Wild teenage behaviour linked to rapid cognitive change in the brainGuardian

Kevin Becomes a Teenager Harry Enfield and Chums (1994)

Touch Laboratory 'Weight' // Aistė Jančiūtė

A blindfold applied before the start of any performance somewhat hampers the critical gaze. One minute you’re a potential audience member, the next you’re in Guantanamo. But it’s by the seaside. And gentle hands are touching yours, guiding you across a pebble and sand landscape as your own weight makes you stumble and slide. The noise comes at you from all sides and there’s a woman’s voice checking off body parts and their weights: brain 100 grams, upper lip 20 grams. Then blindfold off, headphones on, lie down, look up …there’s light above … blindfold on and you’re stumbling again and as you sit, the cold weight of the world on your shoulders.

Touch Laboratory 'Weight' is an immersive piece of work resulting from the artist's month-long residency at the Folkestone seaside. She offers participants the 'experience [of] the concept of weight from physical, artistic, psychological and philosophical perspectives'. The reality of this intense hour in a room is an immersion in the world of the senses and sense deprivation, that at times can be hard to take. 

With immersive theatre under scrutiny this experiment-installation-performance at one point made me feel like the coyote in Joseph Beuys' I Love America and America Loves Me. Was I performer, participant, part of the installation, or just an unwitting subject of an experiment I didn’t quite understand?

A previous day at the Normal? Festival was given over to discussing autism, a condition that is often accompanied by hypersensitivity. Weight‘s assault on the senses was introduction to the feelings of overload that unexpected touch can bring. Cold heavy objects were tied to our bodies whilst all the time we are being watched. With new research suggesting that there could be a relationship between a lack of a normal sense of touch and more complex behaviours resulting in anxiety, Weight created numerous opportunities for participants to experience how each of the five human senses can be overloaded.

The show’s link to the town around it was explicit, and the performers’ careful engagement with each of us was evident. It was an intense and moving experience. But the acute sensory assault of participating in Weight could be overwhelming for anyone unprepared for the vulnerability of the human condition that this work exposes.

- Audrey Green Oakes

 

Links relevant to this diagnosis:

Autism and Touch - Spectrum News

Immersive Theatre Growing Big Quickly - The Stage

I Love America and America Loves Me - Joseph Beuys

Senses Working Overtime - XTC

The Weight - The Band

Touch Laboratory 'Weight' by Aistė Jančiūtė


TANK / Breach

TANK / Breach

Dr Doolittle may have wanted to talk to the animals, but in the 1960s NASA was determined to make them speak English. In a spectacular act of hubris, the agency had decided that if any aliens came to earth, we should attempt to communicate with them in the manner of an aristocrat abroad – slowly, loudly and in perfect English.