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This highlights the power of everyday events that we can observe and extract information from with our sensorium. But it also responds to the limitations of the senses by the using tools to enhance and transform the experience from one sense to the other and thereby make it detectable for the sensorium. he three exercises are thought as a progression in both time and difficulty to perceive. In the frame of a ‘science fair’ setup. Artist engages the visitor in a show and tell’. When the installation is not activated by the artist there will be three displayed elements: A cup of warm tone orange, a fish tank with semitransparent blue liquid and a low pool of yellow liquid, crystalizing in a red/orange [all contained].

Exercise No.1 – Black tea with lemon, the bathochromic shift
Duration 5-15 minutes. (Can be repeated)
 Dimensions: variable

Medium: Clear cups or Glasses, black tea, lemons.

Short description: Collective tea making and observation of a bathochromic shift. Change happens before our eyes all the time, but often our brain detects this and discard the information as superfluous to our consciousness and therefore it remains in our subconscious. In order to begin a tuning of our sensorium I will in collaboration with the audience be making black tea and a ritual phenomenon called a bathochromic shift.

Exercise No. 2 – Blue, agitation/precipitation
Duration 1-24 hours (can be repeated)
Dimensions: variable

Medium: Fish tank or other clear container, water, Prussian blue pigment. Stirring rod.

Short description: Blue pigment in water, agitated and left to settle
This exercise is an invitation to observe the subtle change and/or agitate the pigment in the tank. After which the residue will slowly settle at the bottom again. The dynamic force added to the water by the agitator is made visible by the pigment as well as the transformation of the liquid from transparent to opaque to transparent.

Exercise No. 3 – Red Crystal, Dissolve and solidify
Duration: 1-4 days
 Dimensions: variable
Medium: Clear container (clear acrylics 40x40x10 cm), Potassium Ferri Cyanide Crystal, hydrophone, mixer, and speakers.
Short description: Crystal dissolved in water, detection by audio, re-crystallization.

Diana Lindbjerg (1982), Denmark works with light sensitive materials. Her practice is based on physical experimentation with both specialized photographic chemicals and everyday chemicals such as tea and lemons.
This combination of materials and tools, are often described as a mix of kitchen and laboratory and she often lets this part of the process be visible in her installations and performances.
Her work is influenced by thinkers and artists; such as Goethe, Wittgenstein, Donald Brook and Vilém Flusser.
The –process- and ideas of the –unfixed- and –sensed- is what is important to the work. Coming from a photographic background she is determined that photography is important as a process and tool for perception and not just as a two-dimensional picture surface. So the two dimensional picture is avoided in an attempt to develop a discourse regarding the image but without producing it in a fixed form. BA hons, Fine Art Photography. Glasgow School of Art, 2008-2012
MA Fine art, Trondheim Academy of Fine Art.




Keep going, on to infinity, folding and folding...
- Samatha Clark (2007) _The Subtle Ether_. after Helge von Koch (1904)
Diana Lindbjerg (DK/NO)
ArtScience Museum [Level 4 Curiosity Gallery]
Three Exercises in Visual Perception for The Sensorium
Microbites of Innovation Artwork [Details]
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