Texto de Fernando Nabais introduzindo e fundamentando os mecanismos de interacção envolvidos na performance ‘.txt’. [Texto]
1. “the big-bang” of (artistic) language: the birth of a gesture, a sound, an image and their evolution and relation to the performer throughout the piece
In .txt images and body are one. Words are as important as gestures or as images derived from words. They are there to spur strong reactions, by its value and movement. And motion is sometimes vital to captive the imaginary.
The images, movements and bodies should rise above the screen and scenic space alike, forgetting grammatical, syntaxic, semantic and semiologic formulations. They constitute a dramaturgic, emotional, sensitive whole, and should become a transcendental experience that can take you to another place, towards another emotion, and induce in each one’s body our (own) experiences.
2. Considering interactivity as a medium in itself, the interface between the performer and technology is explored as content
The non-instrusive tracking of the performer and of the performance by computer vision, and the gestural interpretation algorithms, along with the ability to simulate reactions through behavioural descriptors, expand the concept of responsive stage onto a living-like environment, where the performer is simply one of the components.
The piece also intends to reinforce the perception of real time interaction with participatory content by the audience. .txt audience encouraged to revolutionise power structures through the subversive manipulation of the electronic media serrounding us. Through Twitter this empowered “spectActor” can take part in the dialogue happening on stage by adding content to the performer interaction environment.
The scenic space and decoration design unfolds from the search for new scenographic solutions that can be effective at the visual and narrative, but also at the interactive level. Extending the array of interaction possibilities, scenic decoration becomes a physical interface available to the performer control.
Physical simulations like particles systems, bird flocking or potential fields applied to typography and its evanescence to abstract communication symbols constitute the performer’s universe. Its evolution, behavior and emotions are determined by the performer’s interaction with it while keeping an autonomous emergent behavior.
3. Critical reflection of convergences between art and science in its social, historic and aesthetic dimensions is a part of the performance itself
Centring the visual imagery in text and typography .txt expresses also homerage to such a plethora of great digital art works, from installations to performances and electronic poetry, in all its forms, that contributed to digitally explore this media.
“The Electronic Revolution” (1970) by Willliam S. Burroughs serves as a dramaturgic base to develop the narrative structure along the lines traced above. In his essay, Burroughs identifies essential questions about the use and abuse of media technologies. Furthermore, he proposes artistic ideas, as well as humanistic concerns, that have been inspiring the narrative dimension of “.txt” project. Some of the compositional devices shared by many artists of his time are re-visited, refined and transferred to other areas. His famous cut-ups, for example, can be compared to sampling techniques today applied to all kind of fragments of digital and analog media materials.
Ver tb >