"The Wall of Gazes".
by Mariano Sardón and Mariano Sigman.
4K video loop. Screens of variable dimensions.
2011.

The Wall of Gazes consists of several screens in which visitors can see how portrait images are revealed by means of the movements of the eyes of many persons simultaneously. Such a gazes were captured by an eye tracker device with the participation of around 150 people. Participants were sat in front of a portrait image displayed in front of them and the eye tracker device recorded the movement of their eyes. The of gazes of the people were stored and an 4K video was generated with all those gazes together.
The Wall of Gazes aims to engage people with those parts of the face that are really seen and those parts that remains "unseen" while attention is focused elsewhere on the portrait.

科技艺术四十年。 从林茨到深圳. 奥地利林茨电子艺术节" . 深圳. 中国 - (40 Years of Humanizing Technology - Art, Technology, Society". Ars Electronica in ShenZhen), China. 2019 - 2020.
ARCO/BEPP 2019 Prize, ARCO Fair, Ruth Benzacar Gallery. Madrid.
“Naturaleza y Ficción”, Pilar Serra Gallery. 2018. Madrid.
“Misadventures of Discovering” «Открытие, открытие», Hlebozavod Center for Contemporary Culture (Центр современной культуры «Хлебозавод»), 2018. Vladivostok, Russia.
Ars Electronica Berlin 2017.
"Intuitions". Palazzo Fortuny, Venezia. 2017
Ars Electronica 2017, Gallery Spaces - Ruth Benzacar Gallery, Linz.
Artissima 2017, Artericambi Gallery. Turin. 2017.
Art Verona 2017, Artericambi Gallery. Verona.2017
"Morfologia di Sguardi", Artericambi Gallery, Verona. 2017.
Дом впечатлений. Классика и современность медиаискусства / Images of Journeys. Movement in Space. The New Pushkin Museum. Pushkin Museum. Moscow. 2016.
Цифровые Cны / Digital Dreams. Moscow.2014.
AIPAD Photography Show, Bryce Wolkowitz Gallery. 2014, New York.
Ars Electronica 2013.
PULSE Miami. Bryce Wolkowitz Gallery.2013. Miami.
Bryce Wolkowitz Gallery, New York. 2013.
Fundación PROA. 2013
Museo de la Universidad Nacional de Tres de Febrero Arte y Ciencia, Tecnópolis. 2013
Ruth Benzacar Gallery. Buenos Aires. 2012.

“Developed by Gazes".
by Mariano Sardón in collaboration with Mariano Sigman.

Digital images generated by the gazes of many people of iconic images of different cities downloaded from the network.
Ocular trajectories on the images of about 400 people were added at a time by means of an algorithm.

C-Prints on aluminum sheet. 79 x 45 in. approx. 2017.

Technological Collaboration:
Germán Ito.

ArtJaws Tech Art for Collectors!, NEW YORK - FRIEZE WEEK, 2019
Ars Electronica 2018. Gallery Spaces - Artericambi Gallery -
BAPhoto 2017 Buenos Aires. - Ruth Benzacar Gallery -

"All I have of your memories is a map".
by Mariano Sardón in collaboration with Mariano Sigman.

The living experience of a place is far away from a map point of view. I think this distance is common in all the experiences we try to share with others by means of our memories and communication. The other one experience is an extreme otherness that nobody can really embody. I asked immigrants to share a memory situated in a specific place of their original towns. I looked for such a place in the map using an eye tracker device that records my efforts to find those references. I cut a map following the trajectory of my eyes. The resulting piece of map (as a skeleton) is a way to grasp part of the narrated story, but at the same time, all I can have from their experience.

"Images of Journeys, Movement on Space" Exhibition. The New Pushkin Museum. Moscow. 57 th International Art Exhibition. VIVA ARTE VIVA. Biennale di Venezia. 2017.

General Coordinator:
Germán Ito.

Team:

Flavia Laudado Ignacio Fourmentel Nahuel Rodriguez Santiago Terigi Cecilia Cisneros Ana Lucía Elena Carvallo

Let’s Drink This Song Together: Interactive Taste-Sound Systems

ABSTRACT
We present three digital systems: the Augmented Glass, the Bone-Conduction Hookah, and the sound installation T2M, designed for displaying sound and taste stimuli, with applications in research on crossmodal taste-sound interactions, multisensory experiences and performances, entertainment and health.

"Conducted by the Eyes".
by Mariano Sardón, Mariano Sigman and Bruno Mesz.

A music director studies Beethoven’s Nº 12 opus 127 string quartet score. An eye tracker device allows spectators and musician to see where the director’s eyes pose on the score during his lecture in real time. The musician follows and plays the score through the director gaze.

Musicians:

Bruno Mesz.
Guido Kohn.


"Reading Room" Exhibition. Ruth Benzacar Gallery. Buenos Aires. 2016

"Read Unread".
by Mariano Sardón and Mariano Sigman.
11 x 9 ½ x 1 ¾ in. approx. each one. Unique pieces.

My daughter, Eva, is learning to read. She plays with me "words". I write words and she spells them slowly. When she finishes to reproduce the sound of each letter, she is aware of the word immediately and thus the word is revealed for her for the first time. When she listens to herself, their eyes get bigger and the world appears with indescribable happiness. Sometimes she reads the first letters and tries to decipher the possible word before finishing. That is called to read by me, Eva denominates it to guess.

As we read, our eyes move through the text making very hectic and quick movements (named saccades) and short movements for a little while on words called fixations.
These fixations are not distributed randomly, but its position and duration varies according to many parameters of the text, such as word length or frequency.
There is strong evidence the eye movements reflect the mind activity and processing.
Sometimes we go back to review certain words before moving forward with the reading, this movement is called the repetition effect.
During fixation, the word being read is maintained on the fovea, where maximum sharpness is achieved just about 4 or 5 characters, and less clarity about 4 letters to the left and about 14 to the right. This is known as perceptual range.
So, when we read, we don't look at every word in the text, but some of them are skipped.
Something that is evident in experiments did with readers in front of eye tracker devices, is that it is possible to guess the words that are in the parafovea since their length and the predictability of the word given by a strong textual context.
According to this, there are words that the eyes look partially and even in some cases are gone off.
For each text or book, there is one seen text and another unseen text at the same time. There is a read text and another guessed text.
Thus, we read George Bataille's book The Story of the Eye in front of an eye tracker device. We cut the sheets where the eyes fixed and separate the parts of the text read from those parts of the text unread.
We finally obtain two different books, the read one and the unread one.