Our increasingly connected world has, somewhat ironically, created an increasingly isolated world. This is most evident with the current pandemic, which spread quickly precisely because we are more connected than we have ever been. Now, dispersed across the world and trapped in our homes, the way we interact with each other—mediated from a distance through screens and hard surfaces—lacks much of what makes human connections enjoyable. I’m particularly interested in the sensation of touch, and its changing significance in a post-Covid world where, due to distance or safety, touch is not an option.
Everyday objects like rubber gloves and toilet paper are tools designed to keep us from touching surfaces we don’t want to touch, and the empty shelves of these now highly sought-after objects represent a new and widespread fear of touch. I’ve reappropriated these objects into touch-devices, working to translate computer-mediated touching into a more human-like output. My machines are largely made by hand from common parts like paperclips and rubber bands, making them easy to fabricate in isolation. These devices are meant to reintroduce the pleasure and humor of touch, which has recently been taken away from us.
Faruk Sabanovic is an artist, animator, and filmmaker who combines generative art, software development, traditional and computer animation with live-action film, installation, and theatre.
Faruk’s work embodies a rare combination of technical proficiency and artistic vision that made him a valuable member in many international productions.
Currently, in collaboration with a gestalt psychologist, Faruk is developing a collaborative storytelling automation software for a spontaneous cross-media piece on dealing with the trauma through the search of beauty.
Faruk studied Fine Arts and Physics at the University of Sarajevo, worked as the advisor at the Federal Ministry of Culture of Bosnia and Herzegovina, and by joining the MIT Art Culture and Technology hopes to have found a perfect place to explore the personal, relational, institutional, and global threshold of humanity in the emerging future of art, culture, and technology.