Technological art and sensory hypnosis

A sensory and transformative experience

My work explores the interaction between art, perception and consciousness through technological installations and performances combining video art, digital art, sound design and light composition. These immersive art experiences plunge the viewer into a state of deep concentration, encouraging immersion in visual, sound and light hypnosis.

Exploring perception and consciousness

In this context, hypnosis is used to create a deep sensory immersion in which the viewer is led through art to experience a change in their perception of time, space and reality. The visual, sound and light art installations induce a state of sensory hypnosis, allowing the viewer to open up to new dimensions of consciousness. The aim is not therapeutic, but rather to transform the artistic experience into an introspective and subjective journey, where perception becomes fluid and intuitive, like a form of meditative hypnosis. This approach invites self-exploration and offers a unique perceptual experience.

Alteration of time and space

Far from mere contemplation, the work of art becomes a space for inner exploration, where the perception of time and space is altered by synchronised rhythms of light and sound. In this way, these art installations offer a genuine invitation to take a journey into the mind, acting directly on the senses and the state of mind of the viewer. Sometimes these technological art installations induce a state of perceptual hypnosis that amplifies the interaction with perceived reality, which is modified by the subjectivity of the senses.

Light, sound and video: a perceptive alchemy

Interactive osmosis between image, sound, light and spectator

In my experimental art laboratory, I design devices where focus plays a central role in the interactive osmosis between receiver, image and sound. This connection goes beyond the simple juxtaposition of these elements; it creates an immersive art experience in which each component influences the other, amplifying the sensory impact of this stimulating art. Inspired by Brion Gysin and his ‘Dreamachine’, as well as László Moholy-Nagy's research into light, I sculpt video and sound as living materials, exploring their capacity to induce states of sensory hypnosis.

Subjective journey and exploration of the psyche

By coordinating light and sound variations with the rhythms of low frequencies, I explore their effects on consciousness, transforming the sensory experience into a subjective journey where art is the medium of induction. This process allows exploration of the psyche, opening the viewer up to deep inner experiences.

The aim is to immerse the spectator in a state of perceptive enlargement, where focusing on a central point allows total immersion, leading the attention to evolve towards a fluid and intuitive perception, similar to a meditative hypnosis, specific to this art, conceived as a complex technological and energetic system.

The plasticity of human perception and hypnotic art

Like a film where you identify with the main character, here the viewer's subjectivity becomes the very subject of this research, amplifying the inner experience and encouraging a state of perceptual expansion. This dialogue between light, sound and image reveals the plasticity of our perception, revealing the infinite potential of the human mind, and the way in which hypnosis in art can become a tool for cognitive exploration.

Neuroscience and the modification of perception through art

The effects of sensory stimuli on the brain

Neuroscience research reveals that certain visual and sound stimuli modify states of consciousness and influence brain rhythms. Light sequences and low frequencies synchronise neuronal activity, facilitating concentration and deep meditation. This phenomenon, known as cerebral ‘entrainment’, is based on the brain's ability to align itself with external frequencies, thereby modifying the perception of time and space. This aspect is a key element in my creations, which aim to transform the spectator into an active receiver of visual and sound art stimuli, by exploring the boundaries of immersive hypnosis.

I base my work on neuroscientific studies into the nature of these very specific frequencies in order to achieve a state somewhere between wakefulness and sleep, known as the hypnagogic state. The dialogue between art and science broadens the scope of research when art is transformed into a sensory hypnotic experience with stimulating properties.

Neuroscience and sensory perception: an intuitive approach

Neuroscience research, particularly into neuronal plasticity, has been a great inspiration to me. As Patrice Van Eersel points out in his book Your brain has more surprises in store for you (2012), areas of the brain specialising in different sensory functions (such as sight, hearing and touch) can substitute for each other. This opens up infinite possibilities in terms of transforming sensory perceptions, and the idea that one sense can be stimulated by another is now validated by scientific advances. In my installations, I try to provoke cross-sensory experiences, where looking can become a source of sound experience, or where hearing and seeing merge to offer an enriched and global perception of the world. My work explores the idea that the senses, far from being isolated, are interconnected, and that stimulating them can produce unexpected and fascinating effects.

Active perceptual exploration

Here, magnetic hypnosis acts as a catalyst for concentration and psychic exploration, synchronising rhythms of light and sound that alter neural activity and facilitate deep meditation. I aim to make the viewer receptive to sensory art stimuli that transform their state of consciousness, creating a space for active interaction. The aim is not therapeutic, but to expand the boundaries of human perception and subjectivity, while enabling an exploration of the psyche and expanded consciousness.

Viewers become actors in their own artistic experience, creating an immersion that goes beyond mere observation.

Lighting devices to generate inner strength

The light installations created within this artistic framework tend to produce in the viewer a sensation of inner strength or revitalising inner light. By modifying the viewer's sensory environment, they induce states of receptivity in which the perceptions of light and colour bring about a form of inner renewal, awakening luminous emotions and a sensation of well-being, harmony or strength that goes as far as the sublime. This subjective experience is an integral part of this sensory art, which becomes a vehicle for emotional and perceptual transformation.

Immersive art as cognitive exploration

In my installations, this interaction between perception and the rhythm of light and sound intensifies the sensation of immersion and transformation, creating a space where the sensory experience is not simply observed, but lived in a bodily and cognitive way. More than just an aesthetic stimulus, this immersive art through concentration and focus becomes a vehicle for mental and sensory exploration, leading us to question the effects of these stimuli on the human mind and its cerebral plasticity. By making the viewer receptive to these changes, this hypnotic art project invites us to explore the subconscious and expanded consciousness through art.

Performance art and magnetic hypnosis

The energetic relationship between artist and spectator

My performances question the relationship between spectator and art by stimulating the relational field through presence, gaze and gesture. Nourished by my assiduous practice of the internal energy arts, including Qi-Gong and meditation, I bring into play the impact of the body and intention in space. Each performance becomes an energetic exchange in which the quality of presence has a direct influence on the spectator's perception, sometimes to the point of inducing a state of hypnotic receptivity.

The impact of minimalist looks and gestures

In this approach, I follow in the footsteps of contemporary artists such as Marina Abramović, whose work on presence and the intensity of the gaze The Artist is Present reveals the power of the invisible link between artist and audience.

Through my slow, minimalist gestures and magnetic intensity, a subtle dialogue is created, offering an immediate and profound connection. The immaterial work of art thus traced in the body's imprint acts as a revealer of the invisible dynamics that drive the relationship between artist and receiver.

The spectator becomes the receiver of the magnetic process

Carried by the power of the gaze and the body, the work emits an energy and intentions that invite the spectator to become a receiver. They become internally involved in the experience through their ability to open up. They become part of the creative process, stimulating the magnetic field of relationships and expanding the field of consciousness. In a form of relational hypnosis, art is expressed through all the bodily and intuitive dynamics developed by the altered state of consciousness.

Constantly evolving research

The importance of public testimony

Audience feedback plays an essential role in my work, revealing the emotional and perceptive impact of each experience. This feedback enriches my artistic approach, highlighting the diversity of experiences and interpretations.

Artistic exploration beyond physical spaces

My project is also evolving through platforms such as my YouTube channel, where I extend my artistic exploration online, offering a space for exchange and transmission beyond physical exhibition venues.

An immersive transformation of consciousness

By bringing together sound, light and movement, my project questions the relationship between perception, consciousness and art. Each work thus becomes a space of metamorphosis, where the viewer's consciousness is opened up to new sensory and perceptual experiences. My work nurtures an ongoing reflection on the infinite potential of immersive art, aiming to transform the artistic experience into an interactive, cognitive and sensory exploration.

My previous achievements

Exploring the eye and consciousness :

My first works took an experimental approach, questioning the relationship between the eye and consciousness through immersive installations.

The ‘Sky Kaleidoscope’ transforms the viewer's gaze into an infinite prism: a large eye made up of mirrors scatters the viewer's reflections in the celestial immensity, inviting them to become more aware of themselves. With «Dianatura», le diaphragme de l’appareil photo devient une métaphore de l’iris, absorbant la couleur de ce qui est observé. L’iris y symbolise la conscience en perpétuelle transformation sous l’influence de son environnement. L’expérience de la concentration visuelle devient un exercice immersif : observer jusqu’à fusionner avec l’objet regardé.

Translating visual perception into sound

In ‘La Symphonie des métaux’, the gaze orchestrates the sonic vibrations of five drums, while ‘De l'un à l'autre’ transforms the sun's rays into a visual melody. Through this research, the eye is explored as a potential transmitter, generating an immaterial and audible wave. Today, this artistic intuition is echoed in neuroscience, particularly in the theory of neuronal plasticity, which suggests that certain areas of the brain can substitute for others in sensory interpretation (Patrice Van Eersel, Your brain has more surprises in store for you, 2012).

These first creations were based on interactive technologies, incorporating presence detectors and invisible sound sources. They laid the foundations for a wider reflection on cross-sensory stimulation, where one sense can activate another.

An evolution towards the intangible and the subtle

The evolution of my work is part of a progressive quest towards the invisible and the intangible, where the gaze, meditation and immaterial art become central axes. Initially envisaged as a sensor, the eye was explored through a contemplative approach, inspired by meditative practices. Then it became a transmitter, capable of generating an intentional wave under the effect of will.

This intuition stems from my research into meditation and its dynamic effects, opening the way to new experiences of perceptual art in which the viewer plays an active role in their relationship with art and their sensory environment.

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The precautionary principle:

The works of art can emit stroboscopic lights and repetitive rhythms, which are not recommended for people with photosensitivity, epilepsy or a heart condition.

http://mariongalut.com