Creative Gesture Research Articles

Sensing the River Torne: Luminous Encounters in the Riverine Archive

This article explores the luminous exchanges that animate contemporary Western geoscience ways of imagining the Earth. Inquiring into fluvial geomorphology, it employs creative research practice and feminist materialist ideas to interrogate the multiple roles of light in the ways in which rivers become configured, envisioned, and known. Focusing on the River Torne in northern Finland and Sweden, the article contemplates creative gestures of sensing the Torne via various “technologies of light,” which draw the researcher into a haunted, intra-active, and ecological exchange with the riverscape. This immersive engagement with the Torne prompts reflection on the particular riverine knowledges, ecologies, and archives that become presenced in luminous research encounters—prompting a recognition of a distributed cognition in our practices of knowing riverscapes. In the process, the geomorphological notion of a riverscape archive becomes situated amid complex ecologies of light, which invites a radical commitment to the memory and lively potentiality of place and encourages care-full research entanglements within our luminous research archives.

Perspectival Kinaesthetic Imaging

Perspectival Kinaesthetic Imaging is being proposed as a method designed to facilitate the heightened sensitivity needed for the anthropological study of the relationship between making and thinking, during the creative engagement with form-generating materials. Technically, this objective is achieved through the juxtaposition of perspectival view points on the process of making. We follow the ways of the hand using a combination of multimodal visual captures (i.e., photography, video, observational drawing and mobile eye-tracking). Each of these multimodal visual captures affords a specific spatio-temporal perspective from which to identify and observe morphogenetic events of interest (e.g. creative gestures and modes of enactive signification). The basic idea is that the juxtaposition of different media affects how we observe and what can be observed by enabling the discovery of connections and material relations that are often obscured when seen from a single perspectival point.

Enactychism: Enacting chance in creative material engagement

This paper reflects on the meaning of chance and the impact that the occurrence of ‘accidents’ have in the creative process. I draw insights from two main sources: material engagement theory and the art of ceramics. In particular, based on observations from my comparative anthropological study of creativity in pottery making I present a process-oriented enactivist vision of chance as a meaningful coincidence where flow and form diverge from the norm and give rise to creative gesture. First, I introduce the notion of enactychism (blending ‘enactivism’ and the Peircean concept of ‘tychism’ from the Greek word ‘tyche’ for ‘chance’) as a means to conceptualise the relationship between chance, agency and materiality. Then, I explore the relationship between chance and creative gesture and propose ways for tracking the operation of chance in action.

Voie négative, vue négative: Le théâtre de l’appel de Valère Novarina

Negative Path, Negative View: Valère Novarina's Theatre of Appeal In Novarina’s work, the word establishes a “lyrical gesture” : it calls. Since the appearance of what is called constitutes the drama itself, we can consider the lyricism as communication between the subject and the object as the process of creation. This creative gesture is doubly negative. First of all, the writer does not exist anymore in the creation process accomplished with the spectators. Secondly, Novarinian fiction is defined by its negative qualities : informal and timeless, it develops a negative view that opens behind the language.

From Marginalia to the Museum: The Transfiguration of the Doodle by Gottfried Keller, Hans Prinzhorn, and Jean Dubuffet

In 1922 German art historian and psychiatrist Hans Prinzhorn published his groundbreaking monograph Bildnerei der Geisteskranken, which psychologically and aesthetically analyzed the art of the mentally ill. Tucked away in a footnote is reference to an episode in Gottfried Keller’s novel Der grüne Heinrich (1855, 1879/80) when the title artist creates a monstrous web of doodles. This essay explores the implications of Keller’s doodle for Prinzhorn’s thesis along with the re-evaluation of doodling as a legitimate creative gesture. It concludes by following the doodle into the museum through the artworks of Jean Dubuffet, a pioneering force behind outsider art who was influenced by Prinzhorn’s Bildnerei and wielded the doodle as critique against traditional notions of art. Doodles’ journey from marginalia to museum-worthy artworks reveals their subversive power to give voice to those marginalized by society, while also exposing the weaknesses and paradoxes of an outsider art for effecting true institutional reform.

Where the touching is touched: The role of haptic attentive unity in the dialogue between maker and material

This paper, drawing on research from the ‘HANDMADE - Understanding Creative Gesture in Pottery Making’ project (sponsored by the ERC), will attempt to show how a focus on the temporality of touch and the tactility of making can help us disambiguate the often discussed, but little understood, dialogue between maker and material. Our main thesis is that with increasing levels of skill, tactile perception plays an active role in transforming a mere kinetic interaction (where potter and clay are causally coupled) into a multi-modal kinaesthetic transaction (where the potter becomes attentive to the expressive affordances of clay and recursively the clay becomes responsive to the creative affordances of the potter’s hand). We call this situational attunement between the potter and clay haptic attentive unity (HAU). The primary objective of this paper is to explore the links between touch and attentive engagement in the context of pottery making and use the notion of HAU to account for the dialogic character of creative material engagement.

Wound Without End: Envisioning Permanence through Lucio Fontana’s Concetti Spaziali

Wound Without EndEnvisioning Permanence through Lucio Fontana’s Concetti Spaziali Giulia Privitelli (bio) . . . for tho’ we sit down within The plowed furrow, listening to the weeping clods till we Contract or Expand Space at will: or if we raise ourselvesUpon the chariots of the morning, Contracting or Expanding Time! Everyone knows we are One Family! One Man blessed for ever. william blake, jerusalem, plate 55, v. 42–461 In response to Philippe Nemo’s question concerning the origin of man’s thought, Emmanuel Levinas tentatively proposes that it “probably begins through traumatisms or gropings [sic] to which one does not even know how to give a verbal form: a separation, a violent scene, a sudden consciousness of the monotony of time.”2 In other words, man’s thought—as a creative process—arises from the conflicted and limited scenario of the human condition. It embodies and reflects a need to transcend it, whereby the unified may emerge from distinction, creation from violence and destruction, and the liberating and transformative action of the eternal from the enslaving immutability of historical time. I will attempt to unpack this premise through a Christian theological understanding of the infinite and [End Page 25] eternal as expressed in a series of works by Argentine-Italian artist Lucio Fontana (1899–1968), who, in the decades following the Second World War, became singularly concerned with the creative possibilities of the hole or cut (taglio), a hallmark of his artistic career and with which he is almost exclusively and synonymously associated to this day. This crucial phase of Fontana’s artistic output coincides with a period of transition following the devastation of the war, a phase suspended between the reality of the threat of modernity to human freedom and fraternity and, on the other end, the promising yet alienating reach of technological and scientific development. The void that opens through the tension of Fontana’s destructive and creative gesture will be addressed in view of this enigmatic transition: from the trepidation and psychological anguish of man’s earthly existence before the unknown abyss to the radicalized and unprecedented perceptions of man’s relation to space. True to the words of Paul VI, where “only in the mystery of the Incarnate Word does the mystery of man take on light,”3 the implications of the cut as an ambivalent open space shall therefore be explored within a Christian framework of creational, soteriological, and eschatological doctrine. Furthermore, the cut as a pierced image that exhibits its own independent aesthetic reality, will be brought into dialogue with biblical representations of the wound, particularly, the implications of Christ’s wounds as permanent signs of God’s self-disclosure to man and, in turn, of man’s recovery and transformation of identity, meaning, and purpose. Thus, it shall be seen how both artist and beholder participate and tend to the creative act—in the essential transfiguration of the void from a site of emptiness, absence, and finality, to a “non-synthesizable” space of encounter which, as Levinas contends, opens the space for the infinite.4 Indeed, the emphasis on relation as a means of gauging the complexity of one’s being in the world—that is, where the ground of being and seeing infinity arises from the recognition of otherness—affords a promising edge by which to sharpen, on one side, Lucio Fontana’s artistic and environmental [End Page 26] experimentations with the “cut” and, on the other, our understanding of the notion of the permanent wound as the identifiable “face” of the risen Christ. The Call Towards Unity: the Gesture and the Image In the introduction to this article, I proposed to unpack the creative process on three levels based on Levinas’s conception of the origin of thought: separation, violence, and transformation. As shall be seen, these three “gestures” are related in an essential and teleological way, yet each will be explored in turn through Lucio Fontana’s treatment of the void or, rather, the “discovery of the hole” which he considered to be, in the last analysis, his single and most important contribution to contemporary art.5 It would therefore seem appropriate to first and foremost...

Designerly Modus of Wandering and Shared Film Creation in “Corpos Palimpsésticos”: Artistic creations in times of socio-affective

“Corpos Palimps sticos”1 emerged in 2020, in a moment of worldwide pandemic due to Covid-19 and because of the end of our relationship as lovers. Soon after our separation, and thanks to the call for proposals of the Residency Program “Residências em Residências Circolando / Central Elétrica 2020 – FASE 2”, the idea of mourning the separation through a creative gesture was born. The fruition of artistic objects in their physical places has been interrupted due to the restriction to people gathering in closed spaces. This new reality has forced artists to rethink the format of their works so they could reach a public that, without the usual places, is now reterritorialized in a digital environment. Thus, the project’s goal was the production of video-performances and the constant online sharing of our creation process. The project had an interdisciplinary approach, and although design and filmmaking were the privileged areas, the work also included text creation, photography, music, and scientific research. We will analyse here existing approaches of creation methods such as co-creation in documentary, art-based research, art thinking and a recontextualization of design thinking in order to reframe these modes of creation in “Corpos Palimps sticos”. By using more than a single methodology, we are interested in a process where our areas of research/creation can dialogue randomly in a non-hierarchical way. Once the residency was over, we systematized the creation process that gave rise to this text. Finally, we created the term “Designerly Modus of Wandering” and used the term “Shared Film Creation” of a previous research to base our creative journey in the areas of design and film creation.

Changing the World Through Poetry: Confessions, Poems and Banners of Adam Borzič

This study focuses on Adam Borzič, one of the most distinctive contemporary Czech poets. The study contextualises his work within current Czech poetry but also examines his other work that is not strictly classified as art as though it were cultural work with avant-garde features. It investigates four volumes of Borzič’s work in terms of the changes in the author’s creative gesture, which expands from his conviction that the world is at a turning point and the avant-garde longing to change the world by poetry. In the four volumes of Borzič’s poetry (written so far), this gesture is embodied through delicately intimate, acutely physical, or even gigantically all-embracing positions, where he employs motives of the heart, head, hand and mouth. The study attempts to evaluate the change in Borzič’s work in the lightof T. S. Eliot’s understanding of the social role of poetry and avant-garde longing to change reality through art. The Czech poet, Adam Borzič, is one of the most distinctive figures of the current Czech literary scene. His poetry is distinct because of its unique gesture andalso represents a strong current in the poetry production of the past decade with its emphasis on the social function of poetry7 and the poet’s role as somebody who should nurture the world through his/her work or even change it. This study attempts to portray Borzič’s work as focused on the mentioned topics and related issues of the end of the first decade of the twenty-first century and renew interest in them, contextualise his work within current Czech poetry but also investigate his other work, which is not strictly artistic but which possesses some avant-garde features.

L’Architecture aujourd'hui est-elle encore un art ? Considérations théoriques et implications éthiques

Is Architecture Today Still an Art?Theoretical Considerations and Ethical Consequences Architecture has been proposing, for many decades now, more and more spectacular buildings. This could lead to believe that architecture has reached the top of its art. But this question requires first to define art in general, and also the authentic art of architecture. For this purpose, we will use a Bergsonian methodology in order to unveil in an unprecedented way the two different natures of art. The first nature, "ephemeral art", will be analyzed as an artistic performance, which is powered by the creative gesture. The second nature, "persistent art", relies on durable productions. Using a multidisciplinary approach, we will create links between the two natures of art and German musicology: "pathogenic" and "logogenic" architectural productions will be presented to validate if architecture respects its own profound nature. We will finally analyze the modern paradigm of occidental "occulocentric" way of creating with its lack of hermeneutic substance and, thus, its important ethical consequences.

From Canvas to Flatness: A ready-made perspective

This essay investigates the possibility of flatness in painting through the lens of readymade. In this perspective, the concept of flatness is questioned through its physical reduction as a white canvas. Through a creative gesture without leaving a mark, the artist invites viewers to think about the beginning and the end of painting. In other words, viewers can perceive something where they cannot directly see something. Because all untouched canvases are achromatic industrial sculpture composed by a high number of tiny asperities and a complex variation of shadows, they can actually not be considered as the phenomenalization of flatness. This claim is supported by several images illustrating the fractality of flatless canvas. In this context, this article analyzes the perceptive dimension of canvas as readymade by switching the focus of observers from painted elements (what is painted) to the painting ones (what composed the painted elements). In such context, this paper discusses the perception of untouched canvases as an experience of the flatness referring to the beginning and the end of painting.

Музичний серіал: на перетині кіно і телебачення

It is difficult to overestimate the role of television as the primary way of human communication with the outside world. One of the most established function of the "small screen" is its entertainment appointment, representative of which for the average viewer are TV-series. The article analyzes the phenomenon of a musical series, investigates its characteristic functions as a musical-screen forms, traces the causality of enlargement and functioning of a musical series abroad and inUkraine.The foreign media market is characterized by widespread competition between the production studios, by the enlargement of streaming platforms and by longer period of existence of the TV-series as a format of the media. These reasons are encouraging foreign producers to diversify the genres of TV- or web series, meanwhile Ukrainian producers still treat content production fairly one-sided. The foreign TV-series have become familiar to Ukrainian viewers mainly with the acquisition of independence. However, production of the authentic Ukrainian TV-series was not relevant until the 2014 year, after which the Verkhovna Rada adopted two laws that stimulate television production.Thus, TV-series production inUkrainehas only just begun to develop: a few examples, which could be called musical, are actually more exotic backgrounds for the development of melodrama. Nevertheless, musical TV-series from abroad have already won their audience among the Ukrainian viewers. Therefore, we assume that the phenomenon of the musical series will be adapted by Ukrainian productions.It may seem like a series are identical to a motion picture at first sight, but TV-series may also have their advantages over a feature-length movie, like a more detailed description of the protagonist, exploitation of hypertext and deeper disclosure of minor characters. But one of the biggest benefits of TV/web series is the ability to experiment, for example, to introduce into the music basis of project such modern trends as lip sync or mashup.Lip sync is synchronization of audio and video by the method of getting into the articulation of the song’s lyrics. In addition to appearing in the new Netflix’s series “Soundtrack” (2019), lip sync is one of the main ways of expression of such classical movies as “Singing Detective” (2003), “Love and Cigarettes” (2005), and Paul Thomas Anderson's “Magnolia” (1999). We would like to emphasize that one of the first occurrences of the lip sync in narrative screen arts is the serial trilogy by Dennis Porter (“Singing Detective” (1986), “Lipstick on Your Collar” (1993), “Pennies from Heaven” (1978)). However, the creators of the “Soundtrack” were not limited on using the one interesting technique: they offered a vocal solution of each episode in a mash-up way (combining two songs into one laying on each other).Thus, musical cinema saturated the musical series with cinematic ways of expression, and music television gave filmmakers the opportunity to open up from unpredictable side. Musical series’ format has a very few analogues on Ukrainian TV, but television production in our country is developing, and we hope that soon there will be available domestic material for analysis. Musical series inspire the usage of atypical and experimental creative gestures into the cinematic canvas, and also remains open to creative searching, thus developing a filling palette of music-screen forms.

«Сплёты букв»: графико-визуальные аспекты слова как экспрессивно значимые в контексте кубо-футуризма

This article describes a poetry tendency that emerged in the context of Russian Futurism (the Hylea group), namely, the inclusion of epiphenomenal, graphic and visual aspects of the word in the structure of the verbal sign. The expansion of the sign is explained by two approaches to the study of the Avant-garde: a semiotic-oriented approach (E. Farino, V. Feshchenko, O. Koval, M. Grygar) and a pragmatic-oriented approach (M. Shapir, D. Joffe). In these approaches, we discuss the re-creation of a verbal sign by decomposing it into distinctive features and changing these features, which leads to a change in the signified in communication: the transfer of a creative gesture, rather than an intentional meaning. A creative gesture as a pragmatic moment of a work of art engages the recipient into communication and invites them to first react to the action, and then share the acting the gesture out in a situation of co-creation. This thesis is illustrated by the analysis of meta-reflective texts of avant-gardists: D. Burliuk and A. Kruchenykh. The author shows how both Avant-garde artists trace the link between the signified and the creative act and reflect on the changing nature of the signifier.

The Bureau for the Organisation of Origins

The Bureau for the Organisation of Origins (BOO) is an ongoing, multidisciplinary and collaborative artistic project. It assumes the framework of a bureaucratic entity to provide a relational context for a range of creative gestures. The breadth of contributions facilitated by The BOO span crucial sociopolitical works of protest to banal expressions of an opaque bureaucracy. These are arranged in dialogue surrounding issues of group identity, race politics and socio-institutional policy in Australia with a global outlook. The BOO is a flexible and accommodating entity that incorporates individuated practices that traverse nations, institutions, disciplines, identities and genders. It serves to remind us that nation states are evolving, malleable governance projects that require constant consideration and critique. This critical scrutiny has ramifications for associated identities and is all part of our public service.

Adrift in the etheric ocean

In this commentary, I explore Peters and Steinberg’s use of extension, entanglement and excess as operative terms for their ‘more-than-wet’ ontology. I ask whether the elemental ocean so vividly expressed in their article is commensurable with these terms. In doing so, I suggest that elemental geographies may require further experimentation beyond analytical and grammatical description, and towards poetic, aesthetic and creative gestures that convey the force and complexity of the elements.

The essay film as methodology for film theory and practice

The essayistic device in film often brings together two temporalities of film creation: the present of the filmed image and the present of the editing process. Through the interaction of both moments, provoked by the critical revision of the raw material and its possibilities of montage, the essay film is constructed through the filmmaker’s exploration of the filmic apparatus, thus revealing film forms as a way of producing and disseminating knowledge. The essay film, therefore, subverts a common theoretical practice: thought is no longer assumed as a procedure for unveiling an image, but it is rather produced by film forms. We claim that the essay film, as a research methodology and a theoretical approximation to film informed by practice, must be unfolded through creative gestures, this is to say, images and sounds that present an audiovisual synthesis of the conscious and intuitive work that both precedes and is synchronic to the moments of filming and editing. This article addresses the essay film through a comparative association of several filmmakers that express and study both concrete and abstract issues of cinema and filmmaking through their own creative practices.

Utopianism in Postcolonial Literatures by Bill Ashcroft

603 BOOKS IN REVIEW BOOKS IN REVIEW The Sea Is the Future. Bill Ashcroft. Utopianism in Postcolonial Literatures. New York: Routledge, 2017. xii+226 pp. $37.95 pbk. In 2011, opponents of the Occupy Wall Street movement frequently tried to antagonize protesters by asking how they would change the economic system. The protesters uniformly answered that making specific changes was the job of economists and bankers; their job was to register discontent, loudly and in public. For Bill Ashcroft’s new work, Utopianism in Postcolonial Literatures, that response is far more useful than detailed answers to particular problems, because it affectively demonstrates an imaginative and unbounded vision of a better future that makes the present at least marginally livable. Exactly how that future comes into being is less important, in the present, than the insistence on defining the need for it. Derek Walcott, the late Nobelist from St. Lucia, famously told us that in the Caribbean, the sea is both time and space, defining everything that was brought to the islands and everything that can happen there: Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that grey vault. The sea. The sea has locked them up. The sea is History. (“The Sea Is History” 1978) The sea must be the future as well, for here as everywhere the past produces the present and shapes the future at all points, in the forms of successive concrete events and in the methods available for understanding them—that is, for producing history. It is important, then, to see Ashcroft’s Utopianism as an examination of time and space as conceived in a variety of postcolonial territories, a series of conversations in which each chapter engages a few creative writers and theorists in a particular region whose figurations augment and challenge the ubiquitous Western schemas of linear progression. Readers should not expect a comprehensive survey of utopian and speculative fiction per region, or a study of utopian geographies from More onward—both of which are interesting areas of work. Rather, they will find here a discussion of utopianism focused through two terms developed by Ernst Bloch: heimat, the not-yet-achieved space of comfort and fulfilment, and vorschein, the creative gesture or working-toward heimat. For Ashcroft, as for the Occupy demonstrators, vorschein describes concrete activity of critical expression, while heimat is sometimes better described as open, a matter of persistent desires and not of defined conditions. Moreover, emphasizing vorschein as process acknowledges the ethical dimensions of an indeterminate utopianism. In 2002, reviewing Ralph Pordzik’s The Quest for Postcolonial Utopia (2001) for SFS, Tom Moylan warned that “stressing a radical but abstracted openness and not engaging with actual processes of gaining and holding power … threatens to overlook one of the key places in which a concrete utopianism operates—that is, within the very processes of transformation themselves” (qtd. Ashcroft 270). Ashcroft addresses this threat in two ways. First, because so much postcolonial expression has found its voice amid very specific 604 SCIENCE FICTION STUDIES, VOLUME 46 (2019) pressures of imperial oppression, utopian writers in formerly colonized or currently occupied territories can draw from longstanding practices of confrontation, and particularly of transformation, finding and celebrating the means to declare that the lives of individuals and groups indeed matter. Second, and just as importantly, Utopianism is very cautious in its use of authoritative assertion: well aware that small or local institutions, universities and publishers among them, often replicate the imperial orders of assignment and value within which they originated, Ashcroft instead consciously draws back and listens to the other speakers in these conversations, and just as generously opens directions of inquiry for further exploration, perhaps by a later generation of scholars. When the conversations work, as especially in the sections focused on Africa (Chapter Four), India (Chapter Six), and the Caribbean (Chapter Eight), the results offer remarkably useful descriptions of other—alternative, simultaneous, or layered—schemes of time and place that respond to and ameliorate the pressures of historic linearity and its offspring, the nation-state and the capitalist economy. Discussing Africa, for example, in terms that address Moylan’s concerns, Ashcroft notes that the borders of many post...

Educare all'atto creativo del dono tra gratuità e legame

The practice of gifting, observed by means of an interpretative model capable of integrating the utilitarian (individual) sphere of the act of giving with the conception of the gift as a cultural and anthropological expression aimed at building networks of relationships (community), as well as allowing to see concrete manifestations in this sense in contemporary Western society (volunteering is an example), raises questions about the very nature of the relationship that is created between the donor and the recipient of this act, reporting the question on the educational and pedagogical since one wonders what the theoretical-empirical reference models can nurture and support the gift paradigm. The reference to Japanese culture with the concept of mushotoku, in line with the Being of E. Fromm, but above all the ethno-anthropological studies of Marcel Mauss, allow us to hypothesize a creativity of the gift, from a pedagogical point of view, where the free act of giving and establishing a relationship with the other represent self-realization and creative gestures (Maslow), expression of a more general attitude of openness towards the Other and the surrounding environment. The donated and received object therefore seems to possess, in addition to a material value, a subtle meaning capable of sustaining the relationship between donor and recipient in a circular and recursive process, whose goal is not the equilibrium (extinction of the debt), but the building of a link of a moral nature.

Composing the Context: Considerations on materially mediated electronic musicianship

A range of material objects can be transformed into sound emitters by the induction of audio-rate vibration with structure-borne sound drivers. The resulting acoustically activated physical objects offer the possibility to extend the compositional gesture towards the material environment, providing a literal re-reading of Schaeffer’s objet sonore concept. Engaging sound in physical objects ties the creative gesture to its surroundings, grounding the approach in an inherently situated dimension. This article examines the compositional strategies emerging from diffusing sound via physical objects, such as sound spatialisation, audiovisual sculpture and audiotactility in concert setting, illustrated by four case studies of recent aural artwork. On the basis of the case studies, the aesthetic implications of materially mediated aural art are discussed, in relation with the ideal of purity represented by the high-fidelity loudspeaker. While the technological development of the loudspeaker aims for a perfect reproduction of an idealised and autonomous sound, materially mediated sound diffusion merges sound and matter into an agglomerate where the sound can no longer be perceived as an autonomous entity, but rather in relation to its material source. Engaging electronic musicianship in materiality gives rise to a hybrid setting at the interface of the digital, the material and the human, where the context – the environment of sound-emitting objects – becomes an object of composition.

Gesture and Joystick Controlled Multipurpose Automated Wheelchair

Objective: The main objective of this paper is to explore the importance of advanced wheelchair which can substitute a better service for the physically challenged. According to livable hood, it is estimated that 10, 000, 0000 people are in the dire need of a wheel chair and it is also estimated that 156 developing countries are in need of it. Methods/Statistical Analysis: The automated wheelchair has a creative design with an ultrasonic sensor and a joystick controlled facility. It further includes a gesture controlled system for the comfort of individuals. This analytic method tries to focus on the importance of the advanced wheelchair in the 21st century. Finding: The ultrasonic sensor detects the objects and measures the distance. The MEMS based accelerometer ADXL335 sensor gives reading based on the change in the acceleration due to gravity analyzing. For achieving all the above actions, we are using Arduino MEGA2560 development board since it is easy to use with above mentioned modules and also the program. Applications/improvements: This paper tries to explore the highlights of creative joystick and gesture controlled wheelchair which can make the life of individual comfortable and happy.