The ONE-ON-ONE experiment focuses on the bodily experience and haptic mode of cognition described by Professor Maria Eithne O'Neill. This research is seriously concerned with aspects of experience that are not visual, these new ideas draw attention to the internal identity of a place that can be identified through the senses, in addition to formal elements and elements in space. that is shared. O'Neill forms that: 'This holistic system of environmental perception goes far beyond visual spatial perception, and refers to a more complex geographical experience. It involves the integration of many senses, such as touch, positional awareness, balance, sound, movement, and the memory of previous experi- ences. Such combinations of sensibilities have been referred to as simultaneous perception. this experiment explores the aforementioned simultaneous perception and discovers ways in which environmental perception can be captured.
Kryštof is going through the same process as I am. First, he dresses ritualistically in a uniform that shapes the mind-set. Next, he names Rohan Island using the Landscape Nicknaming method based on his memories and personal experiences, thereby injecting himself into the mental dimension as he reads and perceives the space. Another experience that Kryštof goes through is the Train of Thoughts method. He records on a recording device snippets of images and thoughts that are stimulated by the space. This activates the present being in place and embedding oneself in the current storyline of Rohan Island. This also initiates the imagination that is triggered by the exterior and especially the terrain. These methods prepare for further concentrated and movement work through the Landscape Body Mapping method, which suppresses visual perception and activates touch and movement shaped by the nature of the terrain. I work with Kryštof in three different locations, each representing one of the elements in the space (K. Lynch, 1960).
At first, Kryštof was seen to automatically explore the territory mainly through vision, which changes after my instructions. The next study of suppressing the visual component was to explore the space tactilely through the palms. The third mapping of the space was more inventive and Kryštof managed to engage his whole body as a palm and embody the place and trigger embodied imaginary.
In the last location, the involvement of the whole body was shown to cause a bodily imagery that manifested the absolute involvement of the mental component with the physical and the transference into the character and identity of the island absolutely.
Experiencing a place in this way is most definitely subjective. And it is directed towards discovering the qualities of the identity of a place in a movement way and this creates a new image of the place through personal and individual experience.
Reference:
Lynch, K. (1960). The Image of the City (Harvard-MIT Joint Center for Urban Studies Series) (Illustrated ed.). The MIT Press.
O’Neill, M. (2001). Corporeal Experience: A Haptic Way of Knowing. Journal of Architectural Education, 3–12.