{"id":9085,"date":"2024-08-20T17:19:55","date_gmt":"2024-08-20T20:19:55","guid":{"rendered":"https:\/\/loie.com.ar\/?p=9085"},"modified":"2024-08-30T17:02:05","modified_gmt":"2024-08-30T20:02:05","slug":"tecnoelfas-del-bosque-ciberneticotechno-elves-of-the-cyber-forest","status":"publish","type":"post","link":"https:\/\/loie.com.ar\/en\/loie-15\/criticas\/tecnoelfas-del-bosque-ciberneticotechno-elves-of-the-cyber-forest\/","title":{"rendered":"Techno-Elves of the Cyber Forest"},"content":{"rendered":"

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Blurring the lines between the artificial and the organic, this multimedial piece finds a shelter in the body of the screen.<\/span><\/p>\n

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\"\"<\/a>Mariana P\u00e9rez<\/span><\/span><\/div>\n

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On multiple screens, there is a forest. We barely perceive a slow pan of the camera, and it’s clear why this piece must take place in a cinema screen. Although it’s not the only screen; what first catches the eye is this overflow, screen after screen, screen upon screen, the forest is filled with screens, the cinema becomes a forest. Projectors, cell phones and computers form an ecosystem inhabited by techno-organic beings (Clara Fern\u00e1ndez, Noel Rosas, Victoria Colonna and Paola Escotto) that wander through the stage with long white hair and lights on their joints and nipples. Walking in and out of the screens, the flat image gives them a different dimension. At the same time, we see them operating the screens, cameras, and texts. Some of them sit beside us, operating from the cinema seats. There seems to be a clear intention to make explicit every movement generated by contact with technology, to reveal every technical device in its relationship rather than trying to hide its mediation: if everything is on stage, there are no means to an end, everything is an end in itself. The way it differs from the logic of spectacle and technological gimmicks is that multimedia art ultimately seeks to bring the value of a medium as an end, the (un)mediated.<\/span><\/p>\n

It is an infinite, fractal search for technology and poetry, because even though the characters on stage are visibly playing with lights instead of having someone hidden in the booth, there is always another technology hidden and supporting the development of those in the foreground.<\/span><\/p>\n

The piece continues to find different ways to create images. It\u2019s not just the cinema overflowing from the main screen to other ones, but also making a screen of just light and shadow, a throwback to probably one of the most primitive ways of making an image on a flat surface, and watching it all unfold: from the lightsource being cut by this elfish creatures to their shadows projected on the cinema screen. Watching the process itself returns a tangible relationship to the act of projection that further closes the gap between seeing and touching.\u00a0<\/span><\/p>\n

We usually think of seeing as a diagram of\u00a0 EYE – OBJECT, but that\u2019s always an escape away from sight\u2019s perspective, an attempt to make it understandable only from a linear perspective, when sight is a process that is itself transformed through different perspectives as a way of interacting and understanding the world at the same time.<\/span><\/p>\n

When we look at a screen, there\u2019s a point where the body becomes screen, and a film cut is felt throughout the entire world. Ficticia…<\/em> brings multiple screens and makes our eyes change from perspective to perspective, seeing the cinema screen; to seeing the far away, smaller screens, to seeing live performers, then taking them back to the screen via live recording, to finally asking us to take our phones and with a quick modification have small holographic images right in our hands.\u00a0<\/span><\/p>\n

\"\"<\/a>Mariana P\u00e9rez<\/span><\/span><\/div>\n

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However, watching a performer play with its shadow brings back the linear relation: light\/performer\/shadow-screen. But the play is always within and between screens, it\u2019s not a top-down analytic view of the circuit but a surface-to-surface touch. The relation is that of touch with sight, the light embraces the performer and the screen is their witness: the screen is touched. The relationship reveals that light, and the gaze itself, is action.<\/span><\/p>\n

Choosing what to watch is the audience’s visual sovereignty, and our duty is to keep creating visual narratives in the continuous escape from the manipulation of a closed circuit.<\/span><\/p>\n

\"\"<\/a>Carolina Acosta<\/span><\/span><\/div>\n

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***<\/p>\n

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A scenic performance that\u2019s created to be represented on movie theaters, <\/span>Ficticia: pr\u00e1cticas en delay <\/span><\/i>(loosely translated <\/span>Fictitious: Delayed practices<\/span><\/i>) is part of the Back to Back collective, where the performers\/technicians \u201cexplore the poetics, aesthetics, and politics of the body in connection with other bodies and technological media on stage, as well as the relationships between conviviality and techno-conviviality across multiple screens.\u201d (Back to back collective).<\/span><\/p>\n

The uruguayan collective begins in 2015 with the scenic investigation for <\/span>PLUG <\/span><\/i>(2016), a performance mixing dance and robotics, where the stage becomes a place to compose with both the human and the artificial. In 2017 they got selected for the program Bit\u00e1coras del INAE, for their project <\/span>Skeleton<\/span><\/i>, where they worked with mediation practices between the dance workshops and robotic workshops that were then unfolding.<\/span><\/p>\n

Ficticia, pr\u00e1cticas en delay<\/span><\/i> starts in the pandemic as a way to find a new touch on the quarantine landscape, and the practices that appear on the stage, come out of an investigation looking to see in which ways can the human and the screen talk to one another, recognizing a conviviality that\u2019s been here since long ago.<\/span><\/p>\n

\u201cEmbodied fictions in composted humanities that risk blurring presence and virtuality, pixels, animals with synthetic hair, and choreographed vegetations on screens questioning multiplicity, time, and effect. A reservoir of metadiscursive archives of a cyborg community forging kinship, they become others and embrace machines and offer cosmic illusions to connect. Like many other species, they are building possible shelters.\u201d (<\/span>Back to back collective).<\/span><\/p>\n

Ficticia, pr\u00e1cticas en Delay will be presented on Sunday, September 1st, at the Nelly Goiti\u00f1o Auditorium.<\/span><\/i><\/p>\n

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*Main photo: Mariana P\u00e9rez<\/p>\n

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