My first idea is to reconstruct one or few psychological experiments on the seeing of motion or more generally sensual experience. I am researching experiments, current or historical and try to found ways to reflect them digitally.
1- Sensual experience / Tactile Board Zierath chart on a flat surface uses three set of columns which two of the row in each column consists of materials with different tactile properties and below in the last row there are graphs showing tactile values on grid paper. Zierath called these chats “optical translation”, which he translates the “tactile values” of the materials above into a visual language, which exhibits the sense of touched materials. The compositional grid examines the tactile values such as hardness/ softness, smoothness/roughness, dryness/wetness by means of systematically combined materials for example man-made and natural, raw and fabricated ones. Furthermore, tactile values translate to subjectively recorded reactions into a “touch diagrams” these could be referred to again later on.
2- Kymograph Kymograph is an instrument for recording variations in pressure, e.g. in sound waves or in blood within blood vessels, by the trace of a stylus on a rotating cylinder. The device registered blood pressure, heartbeat, respiration, electrical conduction of nerves, and other physiological and muscular changes that varied with time.
3-Alfred L. Yarbus Eye Movement Experiments (Eye Movements and Vision) Yarbus showed that when different people viewed the same painting, the patterns of eye movements were similar but not identical. When a single individual was shown the same painting a number of times, with between one and two days separating the recording sessions, the eye movement records from successive viewings were again very similar but not identical. It was evident, however, that similarity between the inspection patterns for a single observer was greater than it was between observers. Yarbus also considered how viewing behaviour changes over extended periods of time, looking at eye movement behaviour in selected sections of a long (3 min) recording session. Early in the viewing period, fixations were particularly directed to the faces of the individuals in the painted scene. when we view a complex scene for an extended period of time, we show repeated cycles of inspection behaviour, “analysis of these separate records shows that each of them, roughly speaking, corresponds to a cycle during which the eye stops and examines the most important elements of the picture. This cyclic behaviour was also found when an observer viewed a photographic portrait showing only a face. In two such recordings, the observer was found to cycle periodically through the triangle describing the eyes, nose, and mouth of the pictured subject. This study of face viewing provided two key insights into how we look at faces. First, it shows there is a strong preference to look at the eyes more than any other feature of the face. Second, for extended viewing there is a clear tendency to make repeated cycles of fixations between the key features of a face.