Ajuda dos universitários

Lucas mandou duas referências sensacionais de construções mui poéticas a partir de registros de imagens da cidade.
A primeira ajuda a me convencer de que a manipulação das imagens é algo interessante e bem vindo, fazê-la live é o desafio que, espero, Modul8 vai me ajudar a conseguir.

Little Big Berlin from pilpop on Vimeo.

A outra vai por link. "Quando você falou trabalhar com espelhos na rua na sua oficina do FBCU me lembrei disso. Agora achei online. Video berlinense lindo demais."

dossier

preparando candidaturas múltiplas, moldando a massa.

april

choreography for pedestrians, buildings and pigeons - 2 weeks workshop to prepare a choreography in real time in a public space. presented also as a live cinema performance, to be seen in a viewing area (can be a theatre, a gallery or a museum).

in colaboration with dani lima

octobre? novembre?

Task: organize something like a week workshop with local people and make our presentation as a collaboration with them, as a result of this workshop.
In our previous presentations in Brazil we worked with collaborators creating scenes and interacting with "real" passers.
It would be very rich to develop something together with local people.
In July I am going to give a 2 day workshop to dancers here in Rio, on the subject of using surveillance cameras to create dance spectacles.
I think I can test some ideas with them... It will be the first time I will work with people I do not know in advance.

Technically we have to do some tests on the best CFTV instalation. We'd like to work with microphones too.

A Sonnet for Surveillance Cameras

Since I finished my Master studies I haven't been very often here, but this is about to change.
David and I are starting a new project, including the possibility to produce and present a live cinema show in London, vielleicht Berlin auch. Challenging, frightening, exciting. I'll make an effort and write in english, from now on the official language of this blog.

We are working on the translation of our project, it starts like that:

"A Sonnet for Surveillance Cameras is a proposal for a live cinema spectacle of approximately 20 mins. This proposal is conceived using images and sounds from a CCTV system installed for live projection in a viewing area.

One month before the performance a lecture will be given by Paola Barreto explaining the project. Following the lecture applications will open for a workshop to prepare up to 18 participants for the spectacle.

There is no defined criteria for the selection of the participants and previous professional experience in the scenic arts is not a pre-requisite. Applicants should provide a video record telling what motivates their interest in the event and, if selected, sign a term of compromise agreeing to attend the rehearsals and the 3 live presentations. The aim is to form a heterogenous group in reference to age, biotype and ethnicity. During the 2 week workshop Paola and David will encourage the creation of collective scenes that work with imaginaries commonly evoked by surveillance systems. Security, fear, efficiency, voyeurism, exhibitionism, terrorism, day to day repetition, sterility, discipline and all the clichés commonly associated with the field of surveillance will be worked on by the performers at the venue, to “burn the stereotypes”, to use the expression of director Anne Bogart, and construct situations that dialogue with the clichés in a potent and innovative way. "

Following some questions raised by Professor João Luiz Vieira in my presentation at UFRJ, we are planning to work harder on the sound design this time.

There is a lot of work to be done and we are looking for financial suport through Itaú Cultural and MinC. Professor Murakami Wood, a kind of Godfather of this proposal who is trying to help us in Europe. May the force be with us!

mestrado concluído

defendida a dissertação de mestrado que animou este blog desde agosto de 2007.
em breve disponibilizarei aqui o texto integral em pdf.
agradeço imensamente aos meus alunos, aos meus mestres, aos meus filhos e aos meus pais.
sem esquecer os meus amigos e o meu amor.

vlw e até o doutorado.

Call for Papers: Performance, New Media, and Surveillance

Duas dicas dadas em Curitiba por David Murakami Wood.
Uma para participar de um Seminário de Estudos da Vigilância no Canadá.
A outra é o call for papers da revista Surveillance and Society, reproduzido abaixo.
As duas estão tirando o meu sono.

Special Issue of Surveillance & Society, guest edited by John E. McGrath and Robert W. Sweeny.

The relationship between the visual arts and surveillance has been explored through large scale exhibitions (CTRL:Space, ZKM), and texts such as Loving Big Brother (McGrath, 2004) have introduced questions of performance and performativity into the surveillance debate. However, as the technological possibilities available to artists grow, and the social impact of surveillance is increasingly recognized, there is a need for a thorough examination of the uses of surveillance in the visual arts, particularly in the genres of new media and performance art, where issues regarding technological engagement and embodiment come to the fore. The editors of this special volume of Surveillance and Society are seeking papers that examine the complexities of surveillance in new media and performance art. We intent to acknowledge various issues including but not limited to:

• (Re)Examination of New Media and Performance Art through surveillance themes and theories.
• Modes of spectatorship and participation in New Media and Performance Art that are complicated through surveillance technologies.
• Examples from technological and live artistic practices that present novel forms of interaction and engagement
• Analysis of the gaze in its various forms (male, actuarial, scopic) as related to New Media and/or Performance Art.
• Discussions regarding visualities produced in the spaces of surveillance, including the visual culture of technologies that measure gait, map surveilled populations, and monitor public spaces.
• Examinations and articulations of surveillance space (including data space) through artistic practice
• Explorations of the performative nature or surveillance society and space
• Political, resistant and utopian currents in surveillance art practice

We are also open to related subjects not outlined above. Projects by artists working in new media would be of particular interest, particularly those that make use of the digital nature of Surveillance & Society. These might include media and methods such as hypertext, digital video, animation, videogames, and social/tactical/locative media.

Please contact the guest-editors in advance to discuss proposed topics. All papers must be completed and submitted electronically no later than March 31st, 2009. Please use standard formatting and submit the papers via the new automated system - see the instruction for authors - unless the submission is a multi-media piece, in which case contact the guest editors:

John E. McGrath or Robert W. Sweeny

news from madrid

meu colega fernando salis manda notícias de madrid
und plötzlich bist du ein terrorist!
fez pensar na policia federal de madrid me parando, por conta destas fotos que tirei do parlamento español.

hupo-keímenon

a imagem do mundo, entendida de modo essencial, não significa uma imagem do mundo, mas o mundo concebido enquanto imagem

caixa

Projeto Gob Squad, dica da Thiare, muito bom.

This city will need us and this film will be our witness.

Where: The city streets, a theatre/cinema
Who: A hero; a casting-agent; a promoter; a location-scout; all the people on the street that night
How long: the length of a video tape (60 minutes)

What: A 4 screen video event filmed one hour before the audience arrives, Super Night Shot contains no cuts or edits and is produced with four video cameras by four performers. Starting off at base camp (the venue), all cameras are synchronised to record at the same time. Then in a military style brief, the performers declare a "War On Anonymity" before taking to the city streets on a set of magical adventures that celebrate unplanned meetings with strangers. Culminating with a beautiful Hollywood screen kiss between Hero and unsuspecting co-star, the four activists then return back to basecamp to recieve a heros welcome from the audience waiting to see the show. The videotapes are then immediately played back side by side in sych becoming united in one widescreen epos.

After its highly acclaimed premiere in Berlin, Super Night Shot was ranked in the top ten of best shows for 2003 and continues to wage its war in various cities all over the world.

CAIXA

Fassbinder, R.W. 1978/1979

Die Dritte generation

"uma visão sarcástica do terror; um terrorismo que não tem nenhum fundamento político ou religioso, nenhuma utopia social. um terrorismo diletante, que não sabe o quê, porquê ou quem atacar."

Der Riese

Um estudo sobre como a presença da música dramatiza, conduz e cria sentidos.




by Michael Klier

Date: 1983 Running Time: 81:00

Klier uses material drawn from surveillance cameras scattered throughout Germany to create an 80s' version of the "city film." "At once the purest, most detached, even objective documentary that could ever be and a collage film as subversive in its way as The Atomic Cafe, Der Riese could best be described as a science fiction. The tape opens with an airplane being monitored as it lands at the eerily empty Berlin-Tegel airport, taxiing down the runway amid mysterious blobs of light to the accompaniment of portentous symphonic music. It's the welcoming touchdown to a very particular planet: after this overture (with its discomforting echo of Hitler's entrance in Triumph of the Will), 'the giant' turns to technological free-association. Parades, subway platforms, and traffic in the rain flit through its mechanical consciousness....

"Der Riese is drawn from a spectacle produced without a cameraman or director, with neither script nor actors, for a spectator who is less a voyeur than a cop. It's almost totally dehumanized, yet, towards the end, a few individuals are created. A video image generator belonging to the Dusseldorf police manufactures the faces of prototypical criminals; the fidgety inmate of a Berlin mental hospital is observed as he's interviewed by a doctor; another sort of patient has electrodes attached to her temples, so that even her brain waves can be scanned. But the tape ends, as it began, in a landscape unmarked by a human presence a video simulated environment used in the training of tank commanders. The short coda shows how this simulation was produced, with a motorized camera moving over a model countryside and through a toy-sized town like some towering, mechanical tornado.

"Blandly and brilliantly totalitarian, [Der Riese] announces a routine fact of postmodern times, hailing der uber alles." (J. Hoberman, The Village Voice)

notas de aula de direção de atuação

O Ponto de partida é : não tomar nada por certo.
Desenvolver a capacidade de ser surpreendido pelo que é familiar.

Poema de Brecht em livre tradução
Para observar
Deve-se aprender a comparar.
Para comparar
Deve-se ter observado.
Através da observação
A sabedoria é gerada.
Por outro lado sabedoria
é necessária para a observação.

Este curto circuito é o que move a cena, a encenação e a arte de atuar.

Ver o óbvio claramente - e desconfiar disto.

Como uma atitude comum como fumar pode trair a classe social de quem fuma?

Para Brecht é menos uma questão de psicologia e mais uma questão de história e de conflito social.
A atuação envolvida com o mundo lá fora e capaz de fazer relações entre a “cena” e a vida.

Não se pode ser sempre guiado pelo que se diz.

Sonoridade das palavras -
A sentença é para uso de quem?
Quem a reclama para seu uso?
O que está em jogo?
A que ação prática corresponde o que é dito?
Que tipos de sentenças resultam daí? Que tipos de sentenças a suportam?
Em que situações é dita? Por quem?

O que pode ser visto pode também ser dirigido, domesticado.
O ator brechtiano representa mais do que o self, o ser do personagem.
Coração social de um episódio, que Brecht chama de Gestus é dependente da disposicão dos atores em cena.
Performances stanislavskianas em dramas aristotélicos empobrecem a audiência.
Gestus – é a um só tempo conteúdo e opinião sobre uma classe social.
Não é psicológico, mas social, contextual, ligado ao mundo, ao presente, à historia.

Exercício – o ensaio de cenas trágicas para um efeito cômico.
Contradizendo o texto os atores podem ganhar novos insights para a atuação.
Isto não está relacionado com subtexto, mas com algo que poderíamos chamar de metatexto, justamente as redes de relações possíveis, do mundo social, histórico e fora da cena, que estão em sintonia com a atuação.
Assim o ator é um Duplo agente, infiltrado em dois mundos – o mundo da cena, teatral, e o mundo social e histórico, fora da cena.
Não atua uma dada emoção, mas apresenta modos de comportamento – ligados a um contexto – social e histórico.
Tentar ver seu papel , seu personagem, do ponto de vista da sociedade.

Adicionar “ disse o homem” ao final de cada fala. Criar esta visão de fora, falar na terceira pessoa.

Não necessariamente a emoção do ator deve coincidir com a emoção do personagem. Distanciamento.

Cada palavra e cada gesto significam uma decisão.

Quero que vcs prestem atenção na apresentação dos outros e digam o que vcs discordam, não gostam, etc.

Pra entender que interessa não apenas o quê, mas porquê e como.
Pra ficar claro que existe muito mais do que uma maneira “certa” de fazer.

video-überwachung

das leben der anderen

"Le regard peut être imaginé par le sujet à travers un bruit quelconque qui dénote la présence de quelqu'un, car le regard hante le visible."

Independente da roupagem hollywoodiana- classica-narrativa-griffitiana-dramaristotélica, este deustche film fez pensar várias questões que venho tratando com outros autores. e como thomas levin tinha falado muito mal, fui sem pretensões e acabei com um saldo muito positivo. o melhor: encontrar maria borba e joão luiz vieira no saguão. garantia de conversa boa.

origens

How did the fundamental scientific concepts—e.g. number, force, heredity, probability—and practices—e.g. experiment, proof, classification—develop in specific historical contexts? How and why did everyday cultural experiences, such as counting, weighing, collecting, and describing, become specialized scientific techniques? And in what ways did originally local knowledge, devised to solve specific problems, become universalized? These questions form the basis of a theoretically-oriented history of science that seeks to understand the nature of scientific thought and practice as a historical phenomenon, at once dynamic and contingent.

achei um lugar que vai me ajudar a pensar vários aspectos da visão organizada pelo olho/câmera.