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Dissolution of the multiple body is a photography, video, installation, performance and generative film project that explores two interrelated aspects: the representation of the body as sedimented time (the trail of the image and sound of the body), and secondly the transformation in body perception that happens when you relate in ‘real time’ with this trail that the body itself is producing.

----------------------->instrumento for: generative, abstract, interactive, expanded cinema and design

The photographs are pure analogue images with no digital processing, sheer long exposures that capture the trail of the body in the infinite gradations of light. The camera, the technology of objectivity par excellence, is being used to produce an immaterial, fluid, dissolving body of light and time. It is perhaps an homage to Bacon, an expression of the unformed and the nameless in ourselves, and at the same time it can’t help relating in a strange manner to action painting on the one hand, and dance on the other, for the body is generating an abstract image with the movement and the image is thus the trail of a choreography, the imprint and écriture, the hieroglyph of gesture.

The project explores the zone close to abstraction, the frontier, where you still can hardly recognise forms, expressions, gestures, times and intensities of the body. In the performance and the installation, the performer or public-interactor is producing the visual trail through the life processing of his/her image and at the same time a sound trail through the processing of his/her voice. The image becomes an evanescent wash, an abstract or nearly abstract visual composition projected onto transparent screens, while the voice, spatialised and transformed, becomes a musical composition that surrounds you. Both the processing of the image and of the voice happen through ‘full body interaction’, the movements are captured through a video camera and analysed in one of the networked computers. The body is a threshold of light not only regarding its processed image, but also the motion analysis. There is a fluid and intuitive interaction in which you feel the immediate effect of almost every movement and at the same time there are many layers of events, like in an orchestra, where some are more immediate and present while others are more unpredictable or have less presence. This approach seems to me important in interaction design (what one could call the ‘orchestral approach’) where too often you find straightforward, one to one relations of events, that due to the simplicity turn out to look like effects (i.e. the Sony Playstation). Also I seek a very fluid, organic kind of ‘full body contact’ with the audiovisual landscape you are generating, so that you may feel it as a subtle extension of your body that suddenly speaks in new ways in which it could not before.


How do you experience the translation of a movement into certain sounds and images? There is no universal set of relations: rather one must establish these partly in the mappings of the software and leave place for contingency to finish the work. Since the three basic elements (movement, image, sound) have already got very charged contexts of signification in our respective traditions, there is a certain inevitable collision of potential meanings in the process. How is the meaning of a movement transformed through new relations that are established with the sounds it produces? The crossover of écritures brings along the emergence of new language. It is however a very long and slow process if it is not to stay on the level of effects.


Proprioception transforms when you are relating to this trail that is like an excess of the body, something that relates to it and at the same time is independent from it. This transformation together with the new relations to the sound and the image bring along a transformation of the body language altogether: after all how far is it possible to separate the ‘purely choreographic’ from the visual and aural? The continuum of the body is redesigned into new discreet territories, yet these are open. Finally the computer captures the processed image that can be edited as a (generative) film, thus emphasising the way in which the output acquires a life of its own.

Image processing Software of Morphogenesis: Gregorio García Karman
Image processing Software of Umbrales: Gregorio García Karman and Jaime del Val

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Disolución del cuerpo múltiple es un proyecto de fotografía, video, instalación, performance y cine generativo que explora dos proyectos interrelacionados: la representación del cuerpo como tiempo sedimentado (la estela visual y sonora del cuerpo) y la transformación que se produce en la propiocepción y los lenguajes del cuerpo al relacionarse el interactor en «tiempo real» con la estela que el propio cuerpo está produciendo.

----------------------------->instrumento para: cine generativo, abstracto, interactivo - diseño generativo

Las fotografías son imágenes puramente analógicas, sin procesamiento digital, largas exposiciones que capturan la estela del cuerpo en infinitas gradaciones de luz. La cámara, la tecnología de la objetividad por excelencia, se está utilizando para producir un cuerpo inmaterial y fluido de luz y tiempo sedimentados. Es acaso un homenaje a Bacon, una expresión de lo informe y sin nombre, del afuera en nosotros. Y al mismo tiempo tiene relación con el action painting y la danza, pues se está generando una imagen abstracta que es al mismo tiempo la estela, la huella, la escritura y el jeroglífico de una coreografía o de una improvisación, de un gesto o de un movimiento. El proyecto explora la frontera de la abstracción, donde aún apenas se reconocen las formas, expresiones, tiempos e intensidades de un cuerpo.

En la performance/instalación el performer/público produce la estela visual y sonora mediante el procesado interactivo en «tiempo real» de su imagen y su voz. La imagen se convierte en una estela evanescente, una composición visual casi abstracta proyectada en múltiples pantallas transparentes, mientras la voz, espacializada y transformada se convierte en una compleja composición electroacústica. Tanto el procesado de la imagen como de la voz se producen mediante interacción del movimiento general del cuerpo, analizado a través de una cámara de vídeo.

Software de procesado de imágen de Morfogénesis: Gregorio García Karman
Software de procesado de imágen de Umbrales: Gregorio García Karman y Jaime del Val

Contáctanos para DVD, imáganes de calidad y otra documentación.

 

Fotografía - Photography:


Momentos de la performance Mofogénesis:
Moments frome the performance Morphogenesis:



Momentos de la instalación Umbrales:
Moments frome the installation Thresholds:

 

Momentos de la performance Mofogénesis:
Moments frome the performance Morphogenesis:

 

 
   

 

Fotogramas del video generado en tiempo real en la instalación Umbrales:
Frame captures from the real-time generative video produced by the public/performer interaction in the installation Umbrales:




Tríptico con fotografía en una cara y fotogramas del video generado en tiempo real en la otra:
Tryptich with photography on one side and real-time video cature frames on the other: