give instructions to a machine to do something.

and from the roughness, basicness, of what machine performs to us, it shows us, by contrast, what we are — organic, complex, subjective.

img_7124-1

Save

discursos

“construindo discursos”, meus
digo isso olhando blog, e pensando como o que coloquei há 3 anos pode ser re-arrumado,
(rearrumação de minha produção e/ou de produção de outros e /ou do mundo)
constante re-pensar. como o caderno que g. meu amigo nao se importa de continuar depois de 5 anos,
ou um desenho que g. meu amigo nao se importa de continuar depois de 3 anos, numa pagina antiga
de um caderno antigo

difference between design and art 1 – authorship

in my design work i’m normally not the initiator of the assignment. i interpret visually someone else’s message. in my design work am i an author? yes

in the art work i am an author as well.

to be author means to create a text
this text can be a narrative
it can be script for an artwork
in this definition in the design work i am not an author in that sense.

to be an author can also be an editor
which means to use the tools to arrange pre-existing information.
i like the idea of editing
what’s already there
editing the surrounding world.
what someone else said
in this definition in the design work i am an author in that sense.

looper

live action captured in video and projected again
over-layering the present body with its multiple pasts.

variation with projected lines on top of the body:

 

‘Looper’ is an ongoing exploration, used in different contexts, formats, and people.

for instance, in dance hack 2016 where sounds and image of two musicians and a dancer were looped to create improvisations.

and here during a musical performance of emsemble economique (a/v club, at occii, amsterdam, 2015):

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

In Return, video installation, 2012

One thing must be understood: I have said nothing extraordinary or even surprising. What is extraordinary begins at the moment I stop. But I am no longer able to speak of it.
– Maurice Blanchot

‘In Return’ is an audiovisual installation that refers to myths and poetics of time and fatherhood.


video documentation:

It’s a synthesis between pre- recorded X live human actions.

The work originates in actions recorded in video. When presented the video images become an installation, gaining spatial & monumental functions.

Through the video, the visitors experience echoes or traces of a history.

The two projectors do not simply reproduce a pre-composed image, but also produce the composition live.

Inret__10_01all

The work borrows pre-existing texts and images. There are passages of Paul Auster’s book ‘The Invention of Solitude’, a samba song originally composed and sung by Cartola, diferent references to Joseph Campbell’s myths analysis, among others. These pre-existing material is recited and combined with the body actions, in a succession of audiovisual fragments.

in return during athen’s video festival 2013:

 

Research

Pablo’s background is audiovisual medium. Lately he has been exploring performance. The research consists of combining these two media, by translating live actions into video.

One of the challenges is create a space where the video has as much impact as a human body would.

His work is often quotational or referential. He apppropriates and re-works existing ideas and concepts.

 

Thanks to

my father, Cosme Coelho ※ Shadi Gilani ※ Gabriel Bogossian ※ Thiago Paiva ※ Charlotte ‘t Hart ※ Michiel Pijpe & Stagelab ※ Taconis Stolk ※ Kasper van der Horst ※ Izolda Griner

Save

Save

Places of Memory, video, 2011-2012

The confrontation of an inner universe with shared external spaces.

 

the video can be watched online:

 

An essential approach in this work (and in the research that originated it) is re-contextualization. It is present, for instance, in the transfer of a intimate motivation to a public context, in the translation of live actions into video medium, in the borrowing of shared classical mythologies to create individual narratives.

 

Credits:

conception & execution: Pablo Dias
text: “The Adventures of Pinocchio” by  Carlo Collodi / translation by Carol Della Chiesa
camera: Vitor Peixoto
thanks to: Shadi Gilani
2011–2012, Amsterdam & Rio de Janeiro

 

Public screenings:

• “Territórios da Experiência: Vizinhanças” at different public locations – São Paulo / Brazil – October 2012
• “Cadernices – Registros do Processo Criativo” at Casa Dezinove – Rio de Janeiro / Brazil – October 2012
• “Final Graduation Show” at Royal Academy of Arts – The Hague / The Netherlands – July 2012
• “Clash of Contexts” at Walden Affairs gallery – The Hague / The Netherlands – June 2012

 

Design e Comunicação Multissensorial: Lygia Clark – A Casa é o Corpo: Labirinto


Lygia Clark – A Casa é o Corpo: Labirinto

Em seu trabalho, Lygia sempre busca a interação do espectador por objetos sensorias, como sacos plásticos, pedras, conchas, luvas, despertando assim as sensações e fantasias.

Uma exposição que me chamou atenção foi a “A Casa é o Corpo: Labirinto” de 1968. Foi instalada no MAM – RJ e posteriormente na Bienal de Veneza. A obra tem 8 metros de comprimento e simula um imenso útero a ser penetrado pelo visitante, que reproduz as sensações de um parto, pois é levado a experimentar sensações táteis ao passar por compartimentos denominados “penetração”, “ovulação”, “germinação” e “expulsão” do ser vivo. O homem, se torna um organizmo vivo, inverte os conceitos casa e corpo. Agora o corpo é a casa.
Design e Comunicação Multissensorial: Lygia Clark – A Casa é o Corpo: Labirinto

sickness

the day before yesterday I was with the flu. fever, tired body. slept bad, with alucinations.

next day, after sleeping until 15:00, i was almost recovered.
i felt as if resurfacing on the other side.

the sickness was some kind of death

sickness as the dark side (concept by Susan Sontag, ‘sickness as a metaphor’ and taken further in The Emperor of All Maladies: A Biography by Siddhartha Mukherjee.)

what made me think of the fact that a lot of people in the weekend drink and get drugged like crazy, and then stay hung-over for a day.
to die a bit. to get out of their bodies. to experience some kind of physical limitation, pain.

Joseph Campbell in the Power of the Myth talks about this, about the reason why teenagers take drugs: due to a lack of a mystical experience in the current times/society.

and performance artists. and rituals. seems it comes all from the same need (although with VERY different forms and implications)

in the movie Shame, the last addictive trip of the character is like this, from one dose to the other, gradually more extreme, and self-destructive.

[ it is good to know how my thoughts relate to world, to people around me. But still…. despite generalizations, assumptions, i can still only talk and deal with myself. ]

Cannibalism as a start

I started my research inspired by an early XX century brazilian artistic movement. It was called Anthropophagism (synonym for cannibalism).

It is basis is the act of appropriation.

The projects I envisioned were related to the use of computers to cannibalize current social, artistic and political issues. In other words, to automate the process of finding and rearranging information. The works would explore the potential of the performative live context.

I produced some experiments in this direction (ex: ‘Movie Parser’, 2010).

By going further on my research, and reflecting on my creative process,i understood better what actually interested me in this process of cannibalizing or appropriating.

Appropriation means to put things in a new context. To translate (and to deal with the distortion that the translation produces). The tools we use to represent and capture the world are appropriation devices. For instance, after we shoot a photograph we place the subject in a new medium. We take what is public and place it in our own representation space. By making it ours, we can relate to it and try to understand it.

These translations actions over an object often don’t happen only once. It’s a repetitive process. Therefore, the concept of recursiveness is important for me.

Autotimer, performance

The performers image is captured and played back with a delay of one minute.
They do things; the computer repeats them like a slow mirror.
They attempt to add sound to their repeated images, making new actions which are not totally perfect and synchronized; these in return are again captured and repeated.

Here everyday technologies such as the webcam and video-conference situation are repurposed and subverted, in a playful manipulation of essential basic elements of the audio-visual medium.

 

 

another version performed at zeebelt – ‘toeval’ avond, den haag:

Developed within Stagelab and with technical support of Codelab/ Nenad Popov — master ArtScience 2010-2012

Save

Save

Save

Apparitional experience

Apparitional experience

In psychology[1] and parapsychology, an apparitional experience is an anomalous, quasi-perceptual experience.It is characterized by the apparent perception of either a living being or an inanimate object without there being any material stimulus for such a perception. The person experiencing the apparition is awake, excluding dream visions from consideration.In scientific or academic discussion, the term apparitional experience is to be preferred to the term ghost in respect of the following points: The term ghost implies that some element of the human being survives death and, at least under certain circumstances, can make itself perceptible to living human beings. There are other competing explanations of apparitional experiences. Firsthand accounts of apparitional experiences differ in many respects from their fictional counterparts in literary or traditional ghost stories see below. The content of apparitional experiences includes living beings, both human and animal, and even inanimate objects.[2]
Apparitional experience – Wikipedia, the free encyclopedia

Quotations | Ask MetaFilter

The first condition, therefore, that any mythology must fulfill if it is to render life to modern lives is that of cleansing the doors of perception to the wonder, at once terrible and fascinating, of ourselves and of the universe of which we are the ears and eyes and the mind.

-Joseph Campbell, Myths to Live By (1972)
posted by Brian B. at 6:42 PM on March 12, 2009

We are a way for the universe to know itself.

– Carl Sagan
posted by benzenedream at 11:22 PM on December 12, 2009

beautiful (114.detailspiegelung.jpg)

via http://www.google.nl/imgres?q=roseline+rannoch&um=1&hl=nl&safe=off&client=firefox-a&hs=CEJ&sa=N&rls=org.mozilla:en-US:official&biw=1920&bih=1054&tbm=isch&tbnid=8RoMahPBCAHnsM:&imgrefurl=http://www.bwa.wroc.pl/index.php%3Fl%3Den%26id%3D28%26b%3D1%26w%3D1&docid=y__s6kFHgn7lLM&w=400&h=300&ei=PWOJTs-kOYroOa2lndUB&zoom=1&iact=rc&dur=641&page=1&tbnh=133&tbnw=207&start=0&ndsp=61&ved=1t:429,r:4,s:0&tx=76&ty=62

stone soup

Some travellers come to a village, carrying nothing more than an empty cooking pot. Upon their arrival, the villagers are unwilling to share any of their food stores with the hungry travellers. So the travellers go to the neck of the stream and fill the pot with water, drop a large stone in it, and place it over a fire . One of the villagers becomes curious and asks what they are doing. The travellers answer that they are making “stone soup”, which tastes wonderful, although it still needs a little bit of garnish to improve the flavor, which they are missing. The villager does not mind parting with just a little bit of carrot to help them out, so it gets added to the soup. Another villager walks by, inquiring about the pot, and the travellers again mention their stone soup which has not reached its full potential yet. The villager hands them a little bit of seasoning to help them out. More and more villagers walk by, each adding another ingredient. Finally, a delicious and nourishing pot of soup is enjoyed by all.

wikipedia

science as excluding process

We can compare lock-in to scientific method. The philosopher Karl Popper was correct when he claimed that science is a process that disqualifies thoughts as it proceeds – one can, for example, no longer reasonably believe in a flat Earth that sprang into being some thousands years ago. Science removes ideas from play empirically, for good reason.

Lanier, Jaron: Your Are Not a Gadget. p. 9

Big Data and Borges | The Story of Information

Big Data and Borges
Posted on May 29, 2011 by gp

“Jorge Luis Borges described an empire in which cartographers became so obsessive that they produced a map as big as the empire itself. This was so cumbersome that future generations left it to disintegrate. (‘[I]n the western deserts, tattered fragments of the map are still to be found, sheltering some occasional beast or beggar.’)

From the May 26 issue of the Economist:
Big Data and Borges | The Story of Information

art and myths of creation

nota confusa reading Herói de Mil Faces

In most of mythologies, the images of misericordia e bless are as vivid as those of justice and wrath, keeping therefore the balance.

I think: all that is created will be destroyed. so there is not so much a goal with the creation itself (in the long term). why then? for the movement itself. create to create. for me this is similar to art.

linguagem verbal me acalma

segunda de manhã, meio perdido dentro de tudo que posso fazer e sem saber o que realmente quero. dai comecei a escrever, as memorias sobre meu pai. eu tinha um canal pra organizar minha cabeça as vezes bagunçada.

por outro lado, as vezes me faz muito bem perambular pelo mundo não-verbal, por exemplo da música, ou dança, — Joel Ryan disse que tem o mesmo tipo de preferência

importance of NOT saying in art

Paul Auster about Pinocchio:

The superiority of the Collodi original do Disney adaptation lies in its reluctance to make the inner motivations of the story explicit. They remain intact, in a pre-conscious, dream-like form, whereas in Disney these things are expressed–which sentimentalizes them, and therefore trivializes them.

in The Invention of Solitude, p. 131

adaptation, book, myth, father, son