Processing Hyperacusis and PPPD : Outer-view of Neurological Disorder

“This visual piece is interconnected and follows the previous piece ‘Processing Hyperacusis and PPPD : Inner-view of Neurological Disorder’…….in this piece, I look into the outer-view of the condition, considering how the impact of the “inner-view” in response to sound modifies my experience of the urban as a case study.”

Luca M Damiani is a Media Artist and a Lecturer on BA (Hons) Graphic and Media Design at London College of Communication, University of the Arts London. Luca practices internationally in the fields of art, digital media, and visual culture. He works and experiments with creative techniques such as digital technology, animation, photography, coding, and mixed media.

This visual piece is interconnected and follows the previous piece Processing Hyperacusis and PPPD : Inner-view of Neurological Disorder. In the previous piece I looked into visualising an inner-view of my sensorial disability shaped by the hearing&balance disorder of Hyperacusis and Persistent Postural-Perceptual Dizziness (PPPD). I worked with computational and medical processing of auto-ethnographic data with cross-media designs. Now, in this piece, I look into the outer-view of the condition, considering how the impact of the “inner-view” in response to sound modifies my experience of the urban as a case study. Here I choose the urban environment, because cities have become intolerable for me, due to both pain and vestibular responses to the surrounding. I now live in the countryside and seaside in order to better cope with the conditions, and I am still not able to travel and/or deal with a busy city environment. And so in this visual piece I go back to the urban, here using as a case study of London, visualising and codifying the city via sensory experience. Here I capture and develop the urban space, visually reflecting the effect of the neuro-auditory disorders and revealing different stages of cognitive processing and overload whilst also maintaining concepts of play and artistic exploration in the processing.

A digital (in colour) photograph is taken in the city; it is then developed as a digital negative which is then double-printed on acetate, to then be cut, re-composited and reprinted with Cyanotype process (filtering to only blue tones as an expression of loss of details). It is then scanned and set back into digital format (conceptually reflecting the processing of pain between psychological and physical), to then be digital hacked with the sound recording of the city/space itself (reflecting the impression of sound in the visual), as well as having an additional B&W filter as an expression of hearing loss and different perception of reality. Each piece is then reprinted on watercolour paper, adding texture to feeling of this disruption, and sometimes having then lines and stencils with an additional can-sprayed layer of processing to show the process of rehabilitation and reconstruction. There is an artistic cross-over of  neuroscience with photography, graphic design, digital art, alternative analogue printing techniques, and coding intervention, looking at making visible this invisible neurological condition.

In the following collection of artworks there is a narrative created via media art&design with scientific computational processing of medical data and unique personal response to hearing and balance. It reflects neurological processing of city sounds in connection to the conditions, such as failed neuro-signaling, broken acoustic filtering and unstable patterns of perceptual reactions to sensory inputs, dizziness and vertigo. It is a mix of urban photography, alternative printing and graphic poems, computed with sound recordings and with layered abstraction of medical data, reflecting the complex and multi-layered neurological and auditory disorder. Recoded urban images are layered also with a poem that follows the visual narrative, having also some bold words which then create another “invisible” silent layer of consciousness.










All images copyright and courtesy of Luca M Damiani





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