GRAVITY IS A MISTAKE : The Centrifuge Brain Project

The Centrifuge Brain Project is a 2011 German short mockumentary fantasy film written and directed by Till Nowak. The film incorporates computer-generated imagery to create seven real-seeming fictional amusement park rides used in a faux documentary film about the construction of physics-defying rides intended for us e in research efforts to improve human cognitive function. Nowak was inspired to create the project when visiting an amusement park in 2008.

As Nowak began sharing his faux blueprints and realistic clips as part of art installations, he also released The Centrifuge Brain Project. Its creation was inspired by his wish "to create an even stronger clash between realism and absurdity. "Choosing a realistic approach, he chose the mockumentary style to allow viewers "to feel as if they were eye witnesses", and "to enhance the impact of the idea." As part of the film's plot, Nowak created the fictional "Institute for Centrifugal Research" as the researching firm and chose actor Leslie Barany for the role of Chief Engineer Dr. Nick Laslowicz. Barany was cast because of his ability to improv from the scripted lines to have them seem as if given in a real interview. Nowak related that "Barany was perfect for the role, because he turned out to be a very good liar."

Nowak had the monologue concept in his head for a while; the script was written just two days before filming. Nowak stated,

"I had no technical reference for the short film. I created the manipulated amusement rides and the techy talk just out of my own scientific humor. They are a mix of real physics, absurdity and deliberate contradictions. The goal was to create the biggest possible mistake, but still make it sound serious and convincing.

SHAPE-SHIFTING PLAYGROUND

Toys and play is multifaceted and deeply woven into the fabric of human culture. Historically, they have served as a mirror to society, reflecting cultural values, norms, and transitions. Similarly, UFO Warehouse investigates how toys and play have transcended their traditional roles, becoming integral to our culture and why this project changes the perception of existing works of art and shows that art is not simply an object of viewing, but a medium that can be enjoyed through participation and experience.  Lastly, how creating these adult-sized, manipulable works are not meant for passive observers but active while also contributing to a better understanding of spatial awareness and physical interaction.

The connection between toys and play dates back to ancient civilizations where toys were often miniaturized forms of objects found in the adult world, serving both as playthings and educational tools. In the Renaissance, the depiction of toys in art began to symbolize innocence and the fleeting nature of childhood. Moving into the 20th century, with the advent of psychoanalytic theory, toys took on new meaning, seen as crucial to understanding the human psyche.

In contemporary art, toys and the concept of play have been employed to challenge the viewer's perceptions and to critique societal norms. Artists like Jeff Koons, with his oversized toy and ballon sculpture, and Banksy, with his satirical amusement park, Dismaland, utilize the familiarity and nostalgia associated with toys to provoke thought and discussion.

Artistic Integration of Toys and Play

The integration of toys and play in art often serves to blur the lines between high art and popular culture, questioning the hierarchies of taste and value. This can be seen in the works of Takashi Murakami, who merges traditional Japanese painting techniques with the aesthetics of manga and anime, creating a vibrant, playful, yet deeply philosophical body of work.

As we enter the digital age, the boundaries between art, toys, and play are becoming increasingly blurred. Video games and virtual reality combine these three elements to create new forms of artistic expression and play experiences. This modern approach changes the way people experience art and play, opening up new possibilities for creativity and interaction.

While artist like JODI, Julian Olliver and Cory Arcangel have been using videogames to create visual, conceptual and critical artwork for quite some time, game makers not long ago started thinking about aesthetics, theoretical and which explores conceptual intention traditionally aligned with art making. An independent games community called Art Games Movement that produced works fom 2000 to 2010 made games explores metaphysical questions around life, ethics and aspect of human condition.

It furthers the point that Play is not merely a childhood endeavour but a fundamental human impulse that transcends age. In the context of art, play becomes a method of exploration, a way to experiment with ideas and materials. The playful approach adopted by many contemporary artists encourages viewer interaction, making art more accessible and engaging.

Art, toys, and play interact in ways that enrich our understanding of creativity, identity, and society. By examining the importance of playfulness in art as a means of exploration and expression. As society continues to evolve, so too will the ways in which artists incorporate these elements, reflecting on and critiquing the world around them. Our research aims towards changing the perception of existing works of art and shows that art is not simply an object of viewing, but a medium that can be enjoyed through participation and experience. Ultimately, these interactions will create a space where adults can freely exercise their creativity and imagination through playing with works.

Mark Fisher's Inflatables