Allegory of Pulse from Jessica Field on Vimeo.
This project was my contribution to the Common Pulse Residency in Durham, Ontario that was then exhibited in CrissCross for five weeks at the Durham Art Gallery. Five artists were invited to create works that all had to respond to a common single pulse.
The work I presented developed into an allegory that displays the diversity of what the term pulse can mean. The pulse signal influencing the piece can be seen on the analog meters on the front and the light that breathes from the bottom of the black structure. The three stages with peepholes are controlled by the pulse and perform their own interpretation of the word pulse.
This project was developed using a different methodology than my usual research practice that involves a theory to prove which is then developed through the creation of an artwork. This project came from playing with found electronics until their meaning and relevance to the project were revealed either as being part of this particular piece or for a future project.
The artwork also involved many hours of hunting for found objects that would aptly represent the ideas of the word pulse that I wished to convey. Fortunately, the town of Durham is a wonderful place for finding unusual objects. I also had the privilege of being given permission to use and discover the many beautiful electronic objects that reside in Laura Kikauka’s funny farm for this artwork. One could say that this artwork found me. 
I wanted the work to appear similar in stature to the monolith from 2001 Space Odyssey which was a symbol of creation and a driving force to evolution. The lit circuit boards throb synchronized to audio that is reminiscent to breathing.
The stages:
The Honolulu girl is purposely seductive and hidden behind a peephole to make the viewer feel uncomfortable viewing a ridiculous sexual icon that is disturbingly a toy for children. The printer moving the girl displays shallow greeting card texts about love and family with birthday card slogans like surprise and happy birthday that are for children. The text takes on a double meaning of what these words can mean by the distorted subject matter of the Honolulu girl in front.
The clowns play on the pulse of life in the realm of wonder; they bob like a source of happy entertainment as they were designed to be as toys for children. The clown is also a figure of humiliation and a performer that entertains by embarrassing others. The peephole shows an ugly clown that looks more like a fool than a clown.
The last stage is comprised of doll hands in a metal structure where the common pulse beats with the dolls wrists. The arms are severed yet full of life. In looking through the peephole one instantly recognizes Michelangelo’s creation of Adam, in the way two dainty hands are placed. Neither metal structure is given god status by looking more divine than the other. The beauty comes equally in the pulse of the lights from the common pulse driving the piece.
This project uses found objects that are controlled by two Arduinos. The audio component of the piece comes from two piezo microphones attached to found objects that amplify the sounds of the tape deck turning and the clown heads bobbing up and down.
The piece uses a motion sensor to tell the piece when people are around and to begin its performance. The Honolulu girl has a sensor on the peephole to tell the computer when someone is looking at her so she knows when to perform and when to be stationary.
