Dystopian Present
The technological world seeks perfection. That world was created to be reproduced with the highest possible fidelity. By definition, it must be imitable. The materials go through their quality process so that each LED of each screen emits a light equal to the next in the assembly line, otherwise it is discarded.
What is the difference between the yellow of a leaf and that of a led? It feels different.
The organic is uncontrollable, unique and irreproducible, each yellow of each leaf is slightly different...
That's what we like about technological recycling. Making use of discarding what had to be "perfect" and is no longer.
And in this recycling process, if we put it together with a lot of other things that it should never have been mixed with, something unique is generated... imperfect... that gradually acquires personality, it begins to approach the uncontrollable, unique and irreproducible of the universe. natural.
Technological recycling: Brobot project.
robotic avatar
Robotic avatar built in 2 days and without spending a penny; Made entirely with parts from recycled appliances.
It arises from the interest of creating universes of technological interaction that reinvent themselves in the experience with people. It emerges regardless of occupations and labor concerns, from the freedom to take technology out of the commercial industrial world (where everything has to be justified with business plans and a target market) to a place where the focus is assigned to the desire of the experience for the sake of experience itself.
We believe and understand that technology, especially electronics and programming, bring an enormous possibility closer to artists. They bring in their identity matrix a language that could be considered universal; machine language. We see this machine language as the possibility to translate, expand and communicate extremely distant objects/worlds. The collection and analysis of data, together with the possibility of generating images and animated interactive objects, open up infinite possibilities of affectation, it is almost like discovering a huge space for the play of signifiers, connotations and denotations.
Brobot, the cybernetic messenger, is a robot created by the collective. A robotic avatar made entirely with pieces of recycled equipment. The robot has a camera, microphone, speakers and motors to be able to move wherever it is. Hence the concept of robotic avatar, since it can be driven through the Internet, from anywhere in the world; allowing the person who “inhabits” it to manage and interact in real time with the outside world. During the 2020 pandemic, we circulated it repeatedly on public roads in Montevideo, driven by a Uruguayan who was in Barcelona in a situation of mandatory quarantine or lock down, thus generating interaction with his compatriots, in an original way. and safe.
Reciclando tecnología
The rat
Circo Tranzat show directed by Iván Corral, winner of the Competitive Funds for Culture and Selected by the IMM Arts Strengthening Program.
Dystopian Present built for the scene a group of three rats, which are managed by a central control connected to them by Wi-Fi, which allows manipulation as a electromechanical puppets from anywhere. The control design emulates an arcade joystick and allows you to simultaneously control the movement of the rats with the joystick. The rats had depth sensors that gave them the ability to move autonomously as well as having programmed movements that could be selected with the joystick to react simultaneously. In the play, a handler trained together with the performers to follow the choreography of the rats on stage.
streaming
It is called current in English / applied to the mainstream (media) and streaming (broadcast live through social networks) Assume vibrating bodies, in relation to other vibrating bodies of other frequencies, of other stories.
Young and old bodies like a fern,
human, technological and plant bodies.
The diversity of frequencies as configurations of matter / The diversity of perceptible frequencies as a quantum expression of what we call the real.
As part of the team we investigated the back and forth of the image multiple times in the scene. The image of the performers obtained with their own hands with cell phones, choosing portions of their bodies or the scene itself. That scene was taken in real time, manipulated and transmitted, also in real time, to a tower of recycled tube televisions.
Two Routed Maps
It is a piece conceived on two structural axes: gaze - attention, and made up of two scores: body - light. The revitalization of these components reveals their inevitable interdependence. They dialogue.
From this starting point, subjectivities are unleashed and take on relevance, a moment of fiction where each action that is repeated and modified to a greater or lesser degree, can take on meaning and meaning. Or not.
The body score affirms what emerges, to make believe that its potential meanings exist.
The light score underlines it and suggests new paths to the body score.
The attention transits, awakens questions about the attention of the attention.
The look travels, travels.
Two Traveled Maps seeks to make believe that something is being done that is not.
On stage, the light score is activated by four stage illuminators, while five performers hold the body score.
We make self-supporting lighting devices with various textures, shapes and types of lighting to provide a universe for the performers who inhabited the space composing with these devices.
We use rgb addressable led strips to allow control of colours, intensities and games programmed and manipulated from a distance.