FILE
FESTIVAL
INTERNACIONAL de
LINGUAGEM
ELETRÔNICA
No centro cultural Fiesp... Corra, pois vai até o dia 3/9/2006, entrada franca.
É o maior evento de arte e tecnologia do País - colocando o Brasil na rota internacional das novas mídias artísticas, eletrônicas e digitais. Cerca de 200 artistas de mais de 30 nacionalidades participam desta sétima edição. Vale a pena conferir e gritar na cabine... ver a sua imagem transformada e cômica no telão.
MARCEL.LÍ ANTÚNEZ ROCASpain
WORKTantalOff Line
ABSTRACTThe identification system used by theater, movies, literature and art in general is tied up to the description of characters, through which we immerge in their history as spectators. In spite of being physically distant from the character, for a few moments we feel part of him or her. Thus, we make ours the doubt of Hamlet in Shakespeare’s tragedy, or we identify with the madness of Cervantes’ Don Quixote. Frequently I think of what would it happen if that identification allowed us to live, from our physical identity, some of those roles. To live those extraordinary stories from within our skin. The Tantal installation contemplates that possibility. Technically, Tantal consists of a device that allows to capture an animated sequence of faces of the spectators who so wish it. Those images are processed by a computer system that joins the captured faces to the bodies that create action in previously prepared films. Those films are projected on a screen. The interface users’ faces become actors through the virtual bodies of the film; the spectator moves from the private range to the public one. The film scenes show random, changing events, that sometimes represent extreme and forbidden actions, others grotesque and ironic. The stories show and criticize some of the themes of the present censorship: the physical violence, the body’s shape and sexuality. Tantal proposes a mechanism that moves us closer to what I call Ephemeral Identities. The ephemeral identities would be those that would allow us to live, in a fleeting way, a new identity; maybe one of another species, maybe an insect, or, why not, a fantastic identity as the Mermaid or simply another human profile. Those new ephemeral identities should propose new experiences, and therefore new forms of knowledge.
BIOGRAPHYMarcel.lí Antúnez Roca (Moià, 1959) is well-known in the international art scene for his mechatronic performances and robotic installations.In the nineties his avant-guard mechatronic performances combined such elements as Bodybots (body-controlled robots), Systematurgy (interactive narration with computers) and dresskeleton (the exoskeleton body interface). The themes explored in his work include: the use of biological materials in robotics, as in JoAn? l’home de carn (1992); telematic control on the part of a spectator of an alien body in the performance EPIZOO (1994); the expansion of body movements with dresskeletons (exoskeletical interfaces) in the performances AFASIA (1998) and POL (2002); involuntary choreography with the bodybot REQUIEM (1999); and microbiological transformations in the installations RINODIGESTIO (1987) and AGAR (1999). He is currently working on the spatial and utopian artwork TRANSPERMIA. www.file.org.br
Me diverti muito
INTERNACIONAL de
LINGUAGEM
ELETRÔNICA
No centro cultural Fiesp... Corra, pois vai até o dia 3/9/2006, entrada franca.
É o maior evento de arte e tecnologia do País - colocando o Brasil na rota internacional das novas mídias artísticas, eletrônicas e digitais. Cerca de 200 artistas de mais de 30 nacionalidades participam desta sétima edição. Vale a pena conferir e gritar na cabine... ver a sua imagem transformada e cômica no telão.
MARCEL.LÍ ANTÚNEZ ROCASpain
WORKTantalOff Line
ABSTRACTThe identification system used by theater, movies, literature and art in general is tied up to the description of characters, through which we immerge in their history as spectators. In spite of being physically distant from the character, for a few moments we feel part of him or her. Thus, we make ours the doubt of Hamlet in Shakespeare’s tragedy, or we identify with the madness of Cervantes’ Don Quixote. Frequently I think of what would it happen if that identification allowed us to live, from our physical identity, some of those roles. To live those extraordinary stories from within our skin. The Tantal installation contemplates that possibility. Technically, Tantal consists of a device that allows to capture an animated sequence of faces of the spectators who so wish it. Those images are processed by a computer system that joins the captured faces to the bodies that create action in previously prepared films. Those films are projected on a screen. The interface users’ faces become actors through the virtual bodies of the film; the spectator moves from the private range to the public one. The film scenes show random, changing events, that sometimes represent extreme and forbidden actions, others grotesque and ironic. The stories show and criticize some of the themes of the present censorship: the physical violence, the body’s shape and sexuality. Tantal proposes a mechanism that moves us closer to what I call Ephemeral Identities. The ephemeral identities would be those that would allow us to live, in a fleeting way, a new identity; maybe one of another species, maybe an insect, or, why not, a fantastic identity as the Mermaid or simply another human profile. Those new ephemeral identities should propose new experiences, and therefore new forms of knowledge.
BIOGRAPHYMarcel.lí Antúnez Roca (Moià, 1959) is well-known in the international art scene for his mechatronic performances and robotic installations.In the nineties his avant-guard mechatronic performances combined such elements as Bodybots (body-controlled robots), Systematurgy (interactive narration with computers) and dresskeleton (the exoskeleton body interface). The themes explored in his work include: the use of biological materials in robotics, as in JoAn? l’home de carn (1992); telematic control on the part of a spectator of an alien body in the performance EPIZOO (1994); the expansion of body movements with dresskeletons (exoskeletical interfaces) in the performances AFASIA (1998) and POL (2002); involuntary choreography with the bodybot REQUIEM (1999); and microbiological transformations in the installations RINODIGESTIO (1987) and AGAR (1999). He is currently working on the spatial and utopian artwork TRANSPERMIA. www.file.org.br
Me diverti muito
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