Seeing is Believing is an experimental art, science and technology project that conveys an illusion of a neuropathic pain disease called Complex Regional Pain Syndrome (CRPS). This artwork is a VR multi-sensory performance installation involving one-on-one interactions between the artist (playing the role of quasi-clinician), and a participant (as patient). The interaction lasts approximately 30 minutes. Through conversation and technology, the artist subtly steers the participant’s brain to provoke pain-like responses in the absence of actual painful stimulation. This participatory performance challenges our expectations and (mis)understanding of what pain is, demonstrating that the perception of pain does not necessarily require actual injury or tissue damage, and opens a window into the life of someone living with CRPS.
The conception and development of Seeing is Believing was a collaborative effort with clinical neuroscientists from Body In Mind (BIM) based at Sansom Institute for Health Research at the University of South Australia, and Neuroscience Research Australia, as a direct result of the artist’s research residencies through Synapse (Australian Network for Art and Technology, ANAT) and Amplify Your Arts (Accessible Arts) grants.
The project aims to make some of the most recent neuroscience research accessible to a wide audience of diverse educational and demographic backgrounds. It is also an artistic way of externalising an inherently internal experience. While this artwork is not designed to give pain to the participants, some individuals may experience some form/level of discomfort, depending on their subjective responses to the artwork.
The first stage
A participant is lead to a Mediated Reality machine called the MIRAGE – an illusory machine whose screen distorts the participant’s view of their hands in a manner that is incongruent to what their actual hands are actually doing.
Scientists at BIM use the MIRAGE to study the ways in which the brain makes sense of the body, and to investigate how chronic pain and dysfunctional cognitive functions are inherently related. Within the artwork, these same processes are adapted into the artist’s performance in order to prime participants with the knowledge that their own perceptions, which they usually believe to be definitive, may indeed be false. Eugenie also uses this opportunity to begin influencing the participant’s thought processes to focus on the context of pain. This manipulation is achieved through modifying her performance with each participant to draw out their personal memories and emotions relating to pain.
Notable mention: The MIRAGE utilised for this artwork is one of only nine currently in existence, and was developed by Dr Roger Newport at the University of Nottingham in the UK. It was generously supplied for this project by Body In Mind (BIM) for the entire period of the touring exhibitions between 2016-18, allowing the general public to experience something they would usually not have access to outside of a lab.
The second stage
The participant is invited to sit inside a purpose-built anechoic chamber that was designed to look like a domestic setting with tufted walls. Once the door is shut, the acoustics within the chamber provides the participant with an immediate change in atmosphere. Senses within the chamber are simply not the same as in the outside world – this resonates the altered sensory-cognitive responses of people living with chronic pain.
The small enclosed room also symbolises psychological isolation. No one can witness nor share what the participant is about to experience without going through it themselves.
The artist helps the participant to put on a purpose-built glove and a pair of Virtual Reality (VR) goggles, all the while ensuring the context is focused towards pain. The participant then begins to experience artistically interpreted CRPS symptoms and visual effects, felt and seen through the glove and VR. Surrounding VR scenes, with barbed wires, represent a metaphorical description of the artist’s own subjective pain. The sensation of barb wire tearing and rolling relentlessly against her organs are a recurring theme for the artist. They are the metaphorical embodiment of her own chronic pain experience.
At the same time, the physical and visual effects are compounded by subwoofer speakers hidden behind the walls. These produce a sequence of low frequency vibrations that create an unsettling and even nauseating effect on some participants.
The last stage
The artist evaluates and validates the participant’s responses, whilst sharing the concept behind the artwork and the related scientific pain research. If needed, the artist guides them through a simple grounding exercise to finish.
The creative rationale
Many of the artist’s earlier works had their origins in the psycho-social sphere of her personal experience. More recently, as a direct result of her research residencies with scientists and clinicians, Eugenie has started to explore the broader nature of chronic pain and Seeing Is Believing is an attempt to share some of this knowledge.
CRPS is a condition that the general public are not familiar with. This neuropathic pain disease is not rare, yet it is often unacknowledged and is most certainly under-researched. It is also notoriously difficult to diagnose and treat, as there are no direct clinical tests that can provide physical evidence for its existence. Seeing Is Believing is based on the latest studies by the pain researchers and patients’ narratives collected during the residencies.
The main objective for Seeing is Believing was to transform the science behind the research into a tangible and emotional experience of CRPS and to provide a perspective on pain that generates genuine empathy from participants. The work was designed in such a way that each participant experiences not only a glimpse into the physical sensations of CRPS, but also some of its emotional and psychological strains; including anxiety, anticipation and vulnerability. Every participant’s reaction to the artwork is different, and not every participant’s perceptions can be “tricked” through the illusions and social manipulations into feeling pain-like responses. However, nearly every participant’s experience leaves them with an altered perspective on what chronic pain is actually about.
Pain Science collaborators: Dr Tasha Stanton, Dr Valeria Bellan and Professor Lorimer Moseley, University of South Australia
Mirage machine developer: Associate Professor Roger Newport, Dr Hayley Thair, University of Nottingham
New media artist: Dr Andrew Burrell
Wearable device developers: Stuart Esdaile, Rosie Menzies, Tom Hazell, Blake Segula, Corey Stewart
Acoustic Engineer: Meisha Stevens
Architect: Matthew Bolton, Cassandra Prasad
Seeing Is Believing was originally commissioned for The Patient: The Medical Subject in Contemporary Art, curated by
Dr Bec Dean, supported by the Australian Government through The Australia Council for the Arts and the NSW Government through Create NSW.
This project was also supported and funded by the Australian Network for Art and Technology (ANAT) through Synapse Residency in association with the Australian Government through the Australia Council for the Arts, its arts funding and advisory body; supported by Amplify Your Art Residency by Arts NSW and Ageing, Disability and Home Care’s Amplify your art program, a devolved funding program administered by Accessible Arts on behalf of the NSW Government; AARTS Quick Response Grant Program was by devolved funding administered by Accessible Arts (AARTS) on behalf of the Lifetime Care and Support Authority (LTCSA); and Body In Mind research group (BIM) based at the Sansom Institute for Health Research at the University of South Australia.
Special thanks to Prof Lorimer Moseley and his team at Body In Mind (BIM) at the University of South Australia; A/Prof James McAuley and his team at Centre for Pain IMPACT at Neuroscience Research Australia (NeuRA); Vicki Sowry (ANAT); A/Prof William Martens and Prof Philip Poronnik at the University of Sydney; Dr Dylan DeLosAngeles and Museum Of Discovery team (MOD.) Mike Buick, Michael Grave, Rob Yuan, Steven Cybulka and Sean Powell; Rachel Piercy, Jane Hosking and the staff at the Manning Regional Art Gallery; Dr Melentie Pandilovski and Serena Wong at The Riddoch Art Gallery.
Special thanks also to Dr Duncan Sanders and Prof Michael Nicholas at Pain Management Research Institute (PMRI) at the University of Sydney for allowing the artist to attend ‘Placebo Symposium 2017: Harnessing Placebo mechanisms to improve clinical outcomes’. Attendance at this conference had a huge influence on the interaction with participants and its embedded narrative within the artwork.
Dylan DeLosAngeles, ‘Eugenie Lee’s Seeing is Believing: VR in pain management’, Artlink, Issue 38:4 December 2018, 73-77
#2 THE PAIN with Eugenie Lee and Dr Tasha Stanton on Chronic Pain, Virtual Reality, The Constellations: Podcast series, DLuxMediaArts, Moderated by Dr Bec Dean, 28 August 2018
Bec Dean, The art of Dis-ease Anxiety_Art and mental health, Artlink, Issue 37:3, September 2017
Keith Gallasch, Virtual Pain, Harsh Reality, RealTime 133, 2016
Eugenie Lee, Seeing Is Believing, ‘The Pain Revolution: Rethink, Re-engage, Recover’, Pain science blog, 12 March 2018
Enterprise, The Pain Illusion, University of South Australia 2015, p4-7
Hayley Thair, Seeing Is Believing: The Mirage Goes Down Under, Mirage Multisensory Illusion Lab, University of Nottingham, UK, 2016
Eugenie Lee, Synapse residency development blog, Australian Network for Art and Technology (ANAT) 2016
Eugenie Lee, Synapse residency development blogs, Australian Network for Art and Technology (ANAT) 2015
Public discussion, Eugenie Lee, Cat Jones, Dr Valeria Bellan: Artists and Scientist Discussion, The Art of Pain: Playing Tricks With The Mind - Illusion And Its Affect, University of South Australia, 28 July 2015
Natasha Mitchell, Art of Pain, Life Matters, ABC Radio National, 23 July, 2015
Feature Artist, Amplify Your Art Recipient Eugenie Lee, Accessible Arts, 19 November 2014
Siobhan Moylan, Pain as Muse, EastsideFM, 21 July 2014
Making of Seeing Is Believing
During my Synapse and Amplify Your Arts residencies at Body In Mind (BIM) based at Sansom Institute for Health Research at University of South Australia and Neuroscience Research Australia (NeuRA) 2014-15