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THEBIGEAR Project tries to create an imaginary soundscape, by imagining to have such a powerful ear that it can perceive sounds coming from an endless acoustic horizon.
This happens through the building of a net community, in which everyone writes what he actually hears just when he writes his intervention, sounds coming from the room where he is with his computer, or from his home, or from outside, from the city or the countryside.
Describing the sounds as best as it is possible, it will be easy for THEBIGEAR project staff to imagine them, and also to try to synthesize them in a way that resembles them.
The goal of THEBIGEAR is to build an imaginary (virtual?) soundscape, consisting of sounds that come from all over the world, from different ways of listening and listening locations, as if an unique big ear (with an unlimited acoustic horizon) perceived them. The software which runs THEBIGEAR automatically will insert the incoming contributions into a hypothetical listening day, maintaining the time the listening report was sent.
THEBIGEAR is at the same time a literary and musical operation.
THEBIGEAR produces also an installation named "Inside THEBIGEAR", that consists in a dark listening room where it is possible to hear this global soundscape.
Virlab is a web3D experimentation about viruses choreographies. It enables one to choose the protagonists of a dance, to create one's own scene, then to impulse the "dancers" so that they develop random choreography.Viruses displacements are generated by the simulation of physical reactions (friction, elasticity, gravity, collisions). It 's by adding complex reactive phenomena that virlab gives a sensation of free movments. The spectActor, by his action, is adding an exterior disruptive event, and allows to escape from the linearity of animation. The sum of possible events makes the action open, alterable and alive.
Virlab is above all a work of fiction. Altering and exploiting differently simulation, a tool which is meant for concrete applications, enable the artist to disrupt its traditional codes, to make his own an already connoted space, thus expressing a wish for cross-disciplines in order to disclose its machinery in a better way. That mixing of genres might lead the viewer to call into question the codes of the received informations.
The work Flickering Universe is a synthesis of my interest in the exploration of our human desire to create experience and an interest in the processes of perception. We "see" before knowing or consciousness. The utilization of computing technologies and software to totally create media art both as visualization and experience independent of recorded photographic images is an important artifact of our culture and technological instincts. I believe it shapes how we see ourselves. Energy and the illusion of motion are intentionally repeated motifs, as I want to signify the fluid and expansive nature of our visual and auditory senses. I feel this hybrid work, video and animation sources, is somewhat experimental and plays with our notions about cognition itself, hence the title. The works are developed around both video and audio material simultaneously. Rhythmic sound is used to engage and hold the focus of an audience while signifying the passing of time. The size and number of CG shapes and video imagery vary depending on tempo and position within the score. These works are a combination of the generative possibilities of the computer, the evolving digital aesthetic, and light and pixel-based forms.
Considering the city as a complex lanscape, a whole of interconnected and interdependent elements, uncentered landscape, with no actual limits and in constant mutations such as a living system where multiple networks, visible or invisible, develop into rhizomes, at different speed rates, where superimposed stratas, material or immaterial, are been self contaminated and selforganised; a city-system of rhizomatic landscapes
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