In Fragile Intersections, performance and installation are merged in a single work, reflecting on the contemporary body that emerges from the intersection and interaction of its biology with technology; a new hybrid body crossed by a multiplicity of information, which questions its subjectivity, identity and its simultaneous state between organic and artificial. Fragile Intersections is a currently ongoing interdisciplinary interactive project involving several stages and activities, including various collaborations, residences, workshops and experimentations with audience.
Voice, movement, dance, biosignals, interactive sculpture and projections converge in Fragile Intersections, all merged in an interactive system constructed by biosensors mapped to a real time generated sound environment.
The different stages of the work are developing different materials, that have the possibility to work as a unit or as independent parts, as part of the poetics of a work that crosses between performance and interactive installation. The proposal includes aspects of installation, with audio and visual devices that invite the audience to interact with their voice and their own physiology; an interactive sculpture and a performance based on biosignals, voice, texts and dance. The project proposes a multiple and complex body: abstract as well as concrete, sometimes singular and others collective, part flesh and part machine, immersed in an unstable environment that forces the body to feel, act and transform.
The performance is based on live biosignal data, inertial and electromyography signals, which are mapped to an interactive sound system in real-time. The solo performer utilizes the recordings from the dancer’s voice as the only sound source of the piece. The voice is one of the main materials that crosses all the work’s esthetic. Voice comes to signify the movements of consciousness, emotion, intention, desire and presence, at the same time as having the power to communicate through language. Texts represent the various layers of the performance; they express inner sensations and emerging images during the process of listening and moving; describing the interactive process and vocal gestures, including sound and vocal expressive qualities. Speech is presented as a material that oscillates between sense and nonsense, between semantic voicing and gibberish, reaching new meaning through the technological mediation.
The voice as an expression of subjectivity will also be part of the installation section of Fragile Intersections. A sound-audiovisual installation device will be created that connects the voice of the audience, their image recording, with their heart rate. The device invites the audience to interact with their self-image and connect to the sensory experience that emerges from their technology-mediated transformation. In addition, the voices captured by this device will be used as material for the creation of the sound atmospheres in the installation and performance.
The interactive sculpture has been developed as part of a previous installation Anatomy for Movement 2 (Mónica Bate), which experimented with paper and muscle wire materials, also known as a smart metal or shape-memory alloy1. This wire which suggests multiple interpretations from its sinuous and graceful movements; interpretations draw on the relationships between body and machine; the metaphor of the alive anatomy and physiology onto machine’s; the search of the lived into the machine, as well as the temporal and spatial relationship coming from the observing experience of an aparente lived object’s movement.
The sculpture’s installation proposal converges the metaphoric living body with the real living body; where the first becomes mobile according to the biosignals issued by the second, building a human-machine dialogue. The technological object is linked to the biological body by following, responding and also appearing as an extension of it, mediated by the technologies that constitute the macro system of fragile intersections, building a human-machine dialogue.
The outcomes of the creative process will be exhibited at the Museum of Contemporary Art (MAC), in coordination with Anilla Cultural, as well as presentations at Valdivia and Valparaíso, Chile. In addition, the project proposes a diversity of relations with the public, incorporating workshops, experimentation with techniques and methodology of creation in public and specialized places, dissemination in Santiago and regions and exchange with international peers. Sections of this process have been shown in NIME 2018 and 2019, in addition to national venues such as the Arts Forum of the University of Chile, Metro de Santiago and Espacio O.
Javier Jaimovich (sound artist)
Francisca Morand (dancer and choreographer)
Mónica Bate (audiovisual artist)
Paulo Fernandez (audiovisual artist)
Diego de la Fuente (composer)
Franco Mella (assistant)
Rocío Ortega (assistant)
Carolina Cortés (production)
Franco Cruces (assistant)
Esteban Gómez (web design)
Alan Ibáñez (choreographer)
FONDART Nuevos Medios 2019
Departamento de Danza y Departamento de Sonido, Facultad de Artes, Universidad de Chile