Animated web series "CHRONICLES OF THE EDGE OF THE WORLD, Stories, Myths and Legends"
Jesús Alejandro Guzmán, Angélica María Altamar, Sergio Antonio Escobar, Laura Camila Solano, Luisa Fernanda Vega, Fredy Germán Jiménez, Hernán Dario Ayala, Daniel Rueda, Juan David Aristizabal, Diego Hernando Sosa, Jessica Alejandra Bonilla, Andrea Lucía Maya, Jose Angel Cabuya / Colombia
Universidad Jorge Tadeo Lozano
Understanding the symbolic system that lies behind a collective imaginary created around its historical cultural traditions and to recreate it through the use of technologies that allow a greater possibility of rapprochement between the digital and analogous environments can facilitate the understanding of its problems and through In order to promote the capacity of appropriation and ownership that is possessed over it.The main purpose of Transmedia's proposal "Chronicles of the Edge of the World - Stories, Myths and Legends" is to disseminate the oral tradition that has built the collective imagination of Latin American identity throughout the history narrated by both indigenous peoples and Spaniards after the conquest, using as tools of diffusion, technology and animated arts, in a process of fictional reinterpretation that allows to approach multiple facets of said cultural context and to appropriate them in a process of contemporanization that reaches the target public.
“I Love You, Keep Going” was born while I was bicycling in a heavy traffic jam in California. I wondered if it might be possible to invoke a story about nature, and my country’s addiction to oil, in such a way that an audience could feel these opposing forces in their bodies rather than simply their minds. Working with Iranian film editor Arya Ghavamian, whose nation’s history is entwined with oil, I will create three looping films which invite the visitors to mount bicycles and “change the story.”In Chapter One, where nobody bikes, we see the oil business winning the heart of the world. In Chapter Two, where one person enters the future alone, the fear of death and destruction become activated. In Chapter Three, where multiple cyclists join forces, transcendence and harmony with nature become possible. Viewers may passively watch the world’s destruction, or become part of the story and change the future in a positive way.
“Primordial” is a single-channel video which consists of 750 unique microscopic canvases. Each canvas was hand-painted with multitudes of acrylic dyes and then photographed under the microscope. The work is specifically designed to be experienced in an endless loop. In accordance with its title, “Primordial,” takes on the concepts of “existing” and “persisting” of the universe in general and all matter and life in particular prior to temporality. The sequential viewing facilitates the viewer to experience a sensation akin to an affective altered state of consciousness by using rapidly evolving and perpetually forming visual and auditory stimuli. “Primordial” uses the digitally-altered sound of the Vela Pulsar; a highly-magnetized neutron star that emits regular pulses of radio waves and other electromagnetic radiation with a period of 89 milliseconds. The sound design in the video corresponds to the radio-waves emitted by this particular Pulsar.
During the days of the uprising and protests in Cairo’s Tahrir Square in 2011, I intercepted tweets that contained the word “Egypt”, utilising the twitter API. The words in the tweets were converted to sound using an undocumented feature of Google’s translation service. The result is an audio-visual work where the words form a constellation and the audio slowly builds over time to create a soundscape resembling a room full of people chattering.
Nobody never gets to heaven and nobody gets no land. Terra nullius is the “geological” activity of a software entity, in the disembodied and abstract nature of a computer system. This activity creates the variables of its orography, whose movement can be well-read in turn as sound variables. This micro/macro universe is observed/listened from the intimacy of an alien eye/ear that attends (without any intervention) to its natural evolution. Inside an infinite scale, a minimal, uninhabitable, and impossible landscape gets created and destroyed, thanks to the fragile balance between opposite forces.
TEMAS (tr. contact, touch) is a stochastic audiovisual performance. The software underlying the performance integrates the artist into a generative system as a module of analysis. The software interface affords control over probability distributions instead of immediate parameters. Sound acts as a seed; the artist listens, and in return, performs probabilities. All sounds and images are generated in real time. The graphics, which react to sounds, guide the viewers through the diegetic layers of the performance; the unfolding visual narrative highlights the contrasts between the alternating tools of the performance (i.e. a laptop and a modular synthesizer). The software design of Temas draws inspiration from Karlheinz Stockhausen’s Kontakte, Morton Subotnick’s Touch, and Curtis Roads’ Touche pas. Temas, which generates purely abstract sounds and imagery, stochastically traverses the fine line between the organic and the synthesized, forming contacts with representationality.
SYNTHCITY is a generative audiovisual installation which constantly creates unrealistic versions of a city by algorithmically blending its real landscapes, objects, sounds and people. In doing so, this work aims to highlight our acculturation to modern means of industrialization, and its often-ignored impact on social and civic systems. In Soundscape theory, lo-fi acoustic environments are those that exhibit an overpopulation of sonic elements. A lo-fi soundscape is often the mark of an industrialized urban environment; the acoustic affordances of such an environment are deemed disproportionate to human physiology, and can be amplified to hazardous levels. SYNTHCITY explores the relationship between hi-fi and and lo-fi acoustic environments from a multimodal perspective: as it computationally blends organic and inorganic sound-producing objects, and resonant spaces of a city, it does so in both the auditory and the visual domains. The result is an uncanny mixture of mundane objects that are out of proportion and out of place. By contrasting the thresholds of audiovisual stimulation in various parts of a city, it realigns the viewer’s perspective on what tends to be regarded as natural or comfortable in everyday environments.
A continuous video of moving satellite imagery captured along the 49th parallel, the Canada/US border, "parallel" mobilizes imagery from Google Earth's historical database to expose discrepancies in the archived image of the planet. As one follows the pan, anomalies in the image become apparent: digital artifacts having to do with when a given area came under the eye of a satellite, and at what resolution. As the virtual camera moves, the physical border appears, disappears, is replaced and displaced by both geographical features and media artifacts.Blurrings, double exposures, seams between satellite tiles, images from different seasons or times, all create a parallel landscape with its own boundaries, topography, areas of density and intensity. Digital and material realms mingle, charged with the politics of two nations and the legacy of colonial epistemology. Soundtrack comprises found audio, and ambient sound from ISS and an MQ-9 Reaper drone."parallel" is an evolving, frequently updated project. Previous iterations have been screened at: Coder et Decoder la Frontiere, Anti-Atlas of Borders, Université Libre de Bruxelles (April – May 2016) Once is Nothing, Inter/Access Gallery, Toronto (Feb. 2015); Movable Borders Furtherfield Gallery, London, UK (May 2013), Another Atlas, RAW:Gallery of Architecture & Design, Winnipeg (April, 2013).