wii – Estereotips

DualE – experimenting body/technology relationship

husk — Fri, 21 Jun 2013 15:28:22 +0000

DualE is a solo dance interactive performance about 20 minutes long that use different artistic expressions at same time incorporating motion capture sensors, real-time projection and generative sound.

DualE wants to play the relationship between body and technology as subjectivity in the making still unable to materialize itself in the stage.

The organic body and the technological self are a set of conflictive entities that engage a confrontation as ritual of freedom. This ritual is built in stage by perform several emotional facet of both entities: they attract or repel them self, discuss and confront, seduce or flee each other, creating a symbiosis of unity and diversity.

[See image gallery at estereotips.net]

DualE @ Le Than theater – Ho Chi Minh City, Vietnam

DualE – testing body/technology relationship

husk — Mon, 09 Jul 2012 14:55:32 +0000

This videos came out from our personal research on body, movement and technology relationship together with dancer Gina Castilla. The raw material has been edited this form in order to fit in boardilla magazine. Boardilla is a brazilian based art magazine with 4 publication already released. From boardilla’s about:

“Como uma das definições da palavra “boardilla” indica, a publicação tem a intenção de ser uma pequena janela onde os artistas poderão “debruçar-se” para mostrar-nos sua obra. A ideia do nome veio pela imagem romântica do artista imerso no seu sótão em meio do seu processo de criação. Espaço sujo, em desordem com zonas com muita luz e outras de escuridão. Resumindo, um reflexo exterior de esses seres: os artistas.”

Duale: Che indica l’insieme di due persone o cose.

Si usa quando si vogliono indicare con precisione due esseri, cose o fatti e il processo verbale di cui sono protagonisti.

Questo testo es una experimentación, un work in progress en el cual verificar nuestro punto de vista sobre la relación entre cuerpo y tecnologia.

Ipotesis: Technology, as an artificial element but organic, established set of desires

Desarollo: un conjunto de dos entitades, que escapan, se siguen, luchan y se cruzan. El cuerpo tecnologico como identidad conflictiva, a conquistar. Una subjectividad en divenir todavia incapaz de encontrar su materialización dentro del discurso escenico.

Esta es una prueba mas

Acto I – despertar

Acto II – lucha

Acto III – alter

Laboratorio di movimento e corpo aumentato

husk — Thu, 08 Mar 2012 02:38:20 +0000

Il 24 e il 25 Marzo saremo al Pagliaio – Roma – per il nostro nuovo workshop. Siamo emozionati perché é la prima volta che realizziamo questo laboratorio, che nasce dall’incontro fra Luca Carrubba e Gina Castilla, fra il nerdismo informatico e la improvisazione danzante. Questo laboratorio sará un esperimento peculiare rispetto a quella che é l’offerta formativa che si incontra in genre. Tipicamente i workshop legati all’informatica sono focalizzati all’apprendimento di uno strumento: noi stiamo scommenttendo su un’altra metodologia di insegnamento e di apprendimento nella quale la conoscenza techno-informatica si mixa e attraversa con le pratiche corporali legate alla danza e al corpo. Perché? Perché se lavori nella creazione di ambienti interattivi dovrai necessariamente relazionarti con il corpo del performer, con le sue possibilitá e il suo modo di interagire con la tecnologia. Conoscere il linguaggio del corpo nella sua rela

E’ un workshop di ricerca sul movimento, il corpo e la relazione con la tecnologia utilizando questa come chiave cognitiva dei processi corporali. Questa due giorni sará una pratica collettiva di esplorazione, un momento condiviso di creazione tecno-corporale imparando ad ascoltare il corpo (performativo) e allo stesso tempo utilizzare alcune tecnologie utili alla sua relazione con il movimento.

Contenuto del workshop

Il workshop é diviso in 4 moduli col fine di affrontare le diverse problematiche e possibilitá della relazione fra corpo, movimento e tecnologie interattive.

Interazione come trigger di eventi: in questo modulo si esplora la possibilitá di usare semplici azioni sonore come comandi per lanciare azioni audio/video. Coordinazione del suono, interpretazione e azione aumentata

Interazione e qualitá del movimento: in questo modulo si affronta uno delle questioni centrali nell’interazione uomo/macchina e il mapping dei movimenti: la qualitá del movimento. Ovvero come l’atto performativo partecipa al processo interattivo oltre il tracking.

Interpretazione, sincronia, controllo: in questo modulo si gioca con l’interpretazione sonora dei movimenti, la sincronia di eventi e l’uso di dispositivi remoti per il controllo dello spazio.

Interazione e contatto: in questo modulo finale si affronta la questione del contatto. Si usano tecnologie relative al tracking dello scheletro e il suo uso per

l’animazione di burattini digitali.

Per chi é pensato il workshop:

Artisti digitali che lavorano con new media, ballerine, attrici, performers, musiciste e compositori, programmatori e tutte quelle persone che vogliono sviluppare un lavoro corporale cntrandosi sulla sua relazione con la tecnologia. In generale lavoriamo in territori di intersezione fra diverse discipline e quindi speriamo incontrare altra gente con la stessa inquietudine. E’ richiesto aver lavorato con video o audio in tempo reale e tenerne una minima conoscenza.

Tecnologie:

Puredata, wii, animata, kinect, openCV, OpenSoundControl, Osceleton.

Cosa serve:

Un computer con mac o con linux. Se vieni con windows useremo un cd linux che senza modificare il tuo sistema ti permetterá lavorare con queste tecnologie e capire i processi in atto. Vestiti leggero e preparati a sporcarti, non staremo fermi davanti alle tastiere!

Per inscrizioni: ilpagliaio.net

DistopiaVisuál 2.0: empieza la rumba!

husk — Fri, 24 Feb 2012 10:42:42 +0000

En esta semana de intenso trabajo y de muchos estimulos hemos empezado tambien a trabajar a la performance de Distopia Visuál. El material ya realizado para distopia visual, como explicado en la pagina misma, es un punto de partida. Es una sugerencia que nos damos a nosotras mismas para realizar una performance de danza interactivo sobre el tema de la vista, de la distopia producida en la que Michel De Certeau llama hipertrofia de la visión, y que tenga en cuenta su misma implosión hacia nuevos teritorios, el dominio sonoro.

Tenemos bastante material sobre lo cual trabajar: estamos terminando un dossier que nos sirve de eje para la busqueda de produciones.

En esta primera semana estubimos probando algunos pases de la coreografia y de la musica. Todo, con el tiempo, será liberado y publicado con licencias abiertas. De momento se pueden visionar algunas grabaciones del ensayo 01, que un material bruto, nada trabajado, que nos sirve a nosotras como documentación y para ir comparando los anvances y las diferencia en el tiempo.

Aqui dejamos algunas grabaciones del ensayo.

Distópia Visuál

husk — Sun, 03 Apr 2011 11:54:37 +0000

“From TV to the newspaper, from publicity to all other mercantile epiphanies, our society malignant sight, judge all the reality on its ability to show or be showed and turn the communications into a gaze’s travel.”

Michel De Certeau – The Practice of everyday life

“Be spectator is a hazard practice”

Rafael Sanchez, Mateos Paniagua – Cuerpo suspendido, una imagen-cuerpo contemporanea,

.Enter

DistópiaVisuál is an experiment, a work in progress.
DistópiaVisuál is a surgery, a brief reticular examination of human eye.
DistópiaVisuál is jorney into central contemporary human condition.
DistópiaVisuál is not a lonely jorney but an ocular travel togheter with J.G. Ballard and Michel De certeau.
DistópiaVisuál is a game of lack of attention.

Gaze is the privilege sense of contemporary society.
Every thing is knew primary through sight, vision.
Through images accumulation we learn behaviour, we code rules, acquire social values.

In hyper-mediatic society we build our image of world, in whom eye is the barycentre.

The below material is a starting point. It is our raw material upon on build our investigation and verify our postulate.
We start from a surgery as a research, asking if it self could be a answer.
A permanent modification of gaze could be considered as an active action of resistance against hypertrophy of the vision.

.Video

A surgery to both eyes. Three screen composition from surveillance camera from all around the world. A synthetic voice reads J.G. Ballard’s I beleive first, and Michel De Certeau’s The practice of every daylife then. A dreamlike music, floating, alienating than moving images but strictly connected to them at the same time.
This are the elements used on that video. A video realized as starting material for our artist research and as video for public screening introducing the project. Twelve minuts travel surgery inside the contemporary distopia.

.Performance

It is a meeting between two subjects. The first, an inconscious spectator of extended and multiply vision of surveillance technology. The second one, a dancing subject, through movements try to engage a reaction to spectator condition. The dancer’s movements are an invitation to each other partecipation, spectator, spectators.
A shock to the torpor of spectator that push him to became a partecipant eye of the reality surrounds him. As for the surgery which he have been spectator, this attendance will bring him to a permanent change of his daylife condition.
Destroy his own glasses will be the only symbolic act left him to liberation of the imposed gaze.

.How

In order to develop DIstópia Visuál we used just free software.
For the video editing part we used puredata-extended and a specific framework, developed by the collective, pantaliQa. The raw video is scientific material about a real surgery plus the recording from surviellance camera from different parts of the world taked from opentopia.com web community. Audio and video are executed and controllated in real-time from performer and have been recorded using gtk-recordMyDesktop software and final rendered with piTiVi.
The performance provides a video reproduction in the back and a stereo sound system for the audio Both audio and video are controlled in rea-time by the dacenr’s movements using a wiimote. During hte performance the public will be recorded and that material will slowly substitute the surviellance video screen.
The interactive installation will analize the position of the eye through openCV system in order to show online surviellance camera from all the world using opentopia community.

.Future Development

Our goal is to create a audio/visual interactive dance piece 20 minutes at least. Once we finished the first chapter, the gaze, we will continues focusing on the touch domain. Feeling of touch as re-discover of the world, as a conscious act of reappropriation of what we have all around; this is the main focus of our future investigation. Accepting a permanent vision’s modification the performer begins a chain reaction will push her/him to disclose other senses in the discovering of the world. For this new chapter we want to create a collection of sound tactil objects: every one will be created “in situ” and will be strictly connected at the place where they are realized (residence’s place), We want to use this objects on the stage and use them as tactil instruments played by performers and people. We want to engage an investigation on the sound and DIY and low cost technologies for the creation of that objects: contact microphonnes, lowcost biosensor, recycled hardware, are some of the technologies we are interested for experiment with.

Fischietto

husk — Sun, 04 Apr 2010 00:49:01 +0000

Fischietto (whistle in english) is the result of a collaboration between estereotips.net and painter Benito Saluzzo. For the occasion of his exhibition in the city of Potenza (Italy), the artist wanted to experiment with new creation paradigms by trying to unveil the production process behind his work and make this process his own work. A picture is made, Whistle, and a video that has accompanied it throughout the show.

Below is the text which was submitted to the public.

Painting is an act from an exact moment. The evolution of composition is divided into an infinite number of gestures, strokes, moments that make the whole creative process. A sequence of actions by the flow of the paint on the canvas travels over airwaves to switch to another domain, that of digital, through the use of sensors attached to the arms of the artist. The materiality of painting comes to life in the gestures that direct the brush; the section controlled by hand is converted to pure data to modulates the sound.

In the digital hyper-democracy the materiality of a color has the same value of the movement of the wind; in this immateriality come to life the rhythm of painting, led by a soft hand that draws the sounds of his movements in the air.

The painter Making this painting the painter escapes from conventional explanations; becomes the one who through his actions manipulates data that could also take the form of a concrete color or given away in the uncertainty of the sound data.

The gesture is not connected to the sound production on a direct and immediate way; the interaction between the two worlds is based on accumulation, subtraction and delay, with aims to recreate the artist’s own emotional environment.

An empty room with a window on the world, a field, rarefied sun that changes continuously the vision and thus the perception. Paolo Conte as background, or rather, as an empathic piece that produces a fission, an inner emotional chaos Benito Saluzzi is appropriate for use it as raw material for his painting.

The picture is then a result of a process from color’s creation to their unfolding on the canvas: in this process, the artist chooses to include his inner world expressed by its movements in the exact time of painting. The process then becomes the work, of which the picture is only one materialized, visually perceptible.