Monograph documenting a project undertook by the Swiss artist from 2009 to 2016, in which she examines the practice and tools of a center for fundamental research in the field of cognitive neuroscience. With texts by Joerg Bader, Pascal Rousseau, and Anne Immelé.
The monograph Pleasure Arousal Dominance brings together all of the works Dorothée E. Baumann realized when she examined the practices and tools of a center for fundamental research in the field of cognitive neuroscience, a center that is unique in Europe. Putting into perspective the use of scientific and folk practices vis-à-vis imag critical view of Western visual culture.
Dorothée Elisa Baumann (born in Switzerland, lives and works in Biel-Bienne and Geneva) is a conceptual artist. In her work, she is deconstructing main references in the culture of european photography and its transmission. She challenges these early assumptions and goes back to the ontological question concerning the act of photography itself. As a former photographer and photo editor, she is claiming that her tool, the camera – the way it is conceptualized since 1888 (Kodak), turns the operator into a “production machine” and the act into a “progressive practice”.

The monograph Pleasure Arousal Dominance brings together all of the works Dorothée E. Baumann realized when she examined the practices and tools of a center for fundamental research in the field of cognitive neuroscience, a center that is unique in Europe. Putting into perspective the use of scientific and folk practices vis-à-vis imag critical view of Western visual culture.

Dorothée Elisa Baumann (born in Switzerland, lives and works in Biel-Bienne and Geneva) is a conceptual artist. In her work, she is deconstructing main references in the culture of european photography and its transmission. She challenges these early assumptions and goes back to the ontological question concerning the act of photography itself. As a former photographer and photo editor, she is claiming that her tool, the camera – the way it is conceptualized since 1888 (Kodak), turns the operator into a “production machine” and the act into a “progressive practice”.