Vjing

"PONTO, um videogame sem vencedor" (2011) é uma performance audiovisual com sons e imagens sincronizados, tocadas por um console construído e programado por HOL, e controlado por joysticks de videogame (Nintendo) retrô. O instrumento é completamente autônomo e funciona sem a necessidade de um computador, usando apenas um projetor e um sistema de som para reproduzir o seu conteúdo. Cinco pessoas da plateia são convidados a "jogar" a performance junto com o artista, acrescentando um aspecto aleatório, onde o artista já não tem o controle completo do trabalho. Este artigo passa por todo o processo de criação da performance, mostrando o conceito artístico, estética e algumas técnicas generativas usadas pelo artista para adicionar um pouco de aleatoriedade ao processo para que o show seja diferente cada vez que é realizado.

"Dot, a videogame with no winner" (2011) is an audiovisual performance with synchronized sounds and images, played by a 'game console' built and programmed by HOL, and controlled by retro videogame (Nintendo) joysticks. The instrument is completely autonomous and works without the need of a computer, using only a projector and a sound system to play its content. Five people from the audience are invited to play the performance along with the artist, adding a random aspect where the artist no longer have the complete control of the work. This paper passes through the complete process of creation of the performance, showing the artistic concept, aesthetics and some generative techniques used by the artist to add some randomness to the process so that the show is different each time it is performed.

This chapter analyses VJing as a kind of performance that develops between the fields of art, new media and club cultures. The author sketches a map of the changing relationship between art and VJing throughout three historical phases, from the early 1990s to now.

This paper/project discusses the historical origins of "VJ" art and views it as part of the art movement called "New Media". It also explores the marriage between image and sound historically, and in the present in the field of Computer or Electronic Music.

“There’s only here, and now, and light.”

This line is taken from Arseny Tarkovsky’s poem, Life, Life, and was incorporated into the script of the show Afterlife: an audiovisual performance. Alongside this Film & New Media Capstone research paper on phantasmagoria shows and VJing, Afterlife was a production I devised with an outstanding group of collaborators. It was part of the NYU Abu Dhabi Theater Capstone Festival and premiered on 30th March 2018 at the NYUAD Arts Center.

Between the pages, are digitally created illustrations; visuals that were created during the process of experimenting with content creation, or used in the final show. Though this paper will not address the production, the visuals here serve as a trace – a memory – of Afterlife.

This paper argues that VJing and audiovisual (AV) performance today are descendants of magic lantern phantasmagoria shows of the 19th century. As live performances that involved the real-time manipulation of images, phantasmagoria shows created a sensorial, immersive experience through the use of projections. The discussion centers on phantasmagoria shows and VJing as visual spectacle, as framed through film historian Tom Gunning’s concept of the “cinema of attractions” described in his paper, “Cinema of Attractions: Early Film, Its Spectators, and the Avant-Garde.”

The paper will firstly provide context on the history of the magic lanterns and the phantasmagoria shows that were to emerge a hundred years later. This will also include a description of the dramaturgy of the phantasmagoria shows of two showmen in particular, Philidor and Robertson. I will then proceed to make a comparison between VJing and contextualize the form as existing in a tradition of the creation of visual experiences, touching on examples that pay particular attention to the relationship between sound and visuals. The importance of light as a medium to work with, will also be analyzed with examples of audiovisual performances that have revolved around light. The relationship between live cinema and VJing will be briefly discussed, addressing ideas of realtime performance. Lastly, characteristics of VJing will be examined specifically as a remnant of the phantasmagoria shows.

Besides the Screen seeks to make an intervention into film and screen studies by examining and considering the elements of cinematic experience, production and dissemination that exist beside the screen. New media technologies impact cinema well beyond the screen; they also promote the reorganization of its logic of distribution, modes of consumption and viewing regimes. This publication speculates about the changes in modes of accessing, distributing, storing and promoting moving images and how they might affect cinematographic experience, economy and historiography. In doing so, Besides the Screen examines three key themes: distribution, promotion and curation. The volume's main argument is that we must examine those practices that exist besides the screen if we are to consider fully how filmic experience is mediated by various technological and societal changes in the early decades of the twenty-first century.

Arte Generativa, Arte Viva
O procedimento generativo se caracteriza pelo uso de sistemas compostos por pelo menos uma parte autônoma com a finalidade de produzir ou alterar trabalhos artísticos que se desenvolvem ao longo do tempo. Nestes trabalhos, o artista propõe a narrativa, os limites e possibilidades que serão concretizados em tempo real pela máquina, durante uma performance, instalação ou mesmo em uma aplicação estática, congelada em frames. O interesse do artista é em parte perder-parcial ou totalmente-o controle sobre o resultado final, inserindo elementos aleatórios que podem alterar substancialmente o processo, tanto para o bem quanto para o mal, levando a resultados inesperados. Variáveis, que podem ser vinculadas a qualquer parâmetro dos elementos em cena, ampliam as possibilidades narrativas, com a capacidade de influenciar o performer pela variação das ações propostas pela máquina. Mas por que não ter o controle seria uma vantagem? Talvez o objetivo de quem trabalha com este tipo de abordagem seja demonstrar que não há um só caminho, mas múltiplos, que podem ser explorados de forma diversa a cada vez que o trabalho for executado. Isso faz com que cada performance seja única, e aconteça de forma diferente a cada apresentação. Este caráter do inesperado, da variação, da porta aberta para novos modos de fazer pode ser muito inspirador para o artista.

This thesis aims to study the usage of computer generated imagery in VJ
Performance. The main workflow of VJ Practices has been divided into content, process, and output. The project includes the creation of computer generated visual material via generative/creative coding defined as content, VJ performance with these materials defined as process, and presentation of visuals via Video Projection Mapping Technology defined as output.

Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas de seu formato mais hegemônico. Mas não se trata de lamentar a tela, muito menos a imagem. É o cinema sim, ou os fragmentos de sua constante expansão, flertando com outras possibilidades, esbarrando na vida. É a constatação de que não são mais apenas nas salas escuras, ocupadas por um público que compartilha cumplicidades tácitas, que o cinema acontece.

Há uma sugestão nas entrelinhas, de que libertar a imagem de suas molduras, a faz circular para além das convenções. Mas seria uma suposição simplista. O que aqui se reflete no ler e no imaginar (no fechar dos olhos, talvez) é um alargamento de linguagens, um diálogo geopolítico, a expansão de uma rede, em perspectivas que apontam não apenas para o visual, mas também para o textual, o interativo, o participativo, o sensorial, o portátil, o tempo real, o continuum das imagens.

Se um dos estigmas do cinema são suas crises anunciadas, há outras perspectivas latentes: num cinema como evento, no imbricamento entre processos (técnicos, logísticos, sensíveis), na engenharia de dispositivos, na reinvenção da gestualidade, em uma experiência cotidiana através das imagens — inclusive nas viagens promíscuas que o digital engendra —, que podem permitir ao espectador alguma experiência incomum em nosso momento contemporâneo. E se a disputa pelos modos de ver o mundo é um dos embates sensíveis da atualidade, a iniciativa (este livro e os acontecimentos que o gestaram) nos convence da importância de adensar debates e explicitar articulações, reconhecendo diferentes entendimentos sobre a tela e uma diversidade de expressões para além dela. As muitas ameaças ao cinema parecem fazê-lo cada vez mais onipresente, potente e múltiplo. (Lucas Bambozzi)

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In an attempt to produce critical associations between the fields of cinema, expanded cinema, contemporary art and digital live visuals, this paper investigates characteristics of VJing projection in the work of practitioners who do not engage primarily with this technique. The analysed pieces are the film Chelsea Girls (USA, 1966), by Andy Warhol; the installation series Cosmococas (Brazil, 1973), by Hélio Oiticia and Neville D’Almeida; and the multimedia project The Tulse Luper Suitcases (2003-), by Peter Greenaway. Each of them reorganizes the elements conventionally involved in the exhibition of moving images by either opening them up to contingencies or incorporating the apparatus in particular strategies of meaning and value, therefore challenging the established viewing regimes. With these analyses, I mean to emphasize the role of spatial organization in the experience of time and in the definition of the parameters for the performance of media technology, regardless of the institutional conventions that restrict each field of visual creation. By doing so, I hope to set more rigorous underpinnings to speculate over their future developments and interactions.

Ambientação é a mediação contínua, propositada e efetiva de qualidades multimodais que criam um espaço de signos. Juntamente com DJs, músicos, cenógrafos, iluminadores e com o público participante, vídeo jóqueis (VJs) compõem ambientações nas pistas de dança ao manipular e projetar conteúdo audiovisual em tempo presente. Este estudo adota uma abordagem semiótica na investigação de estratégias usadas por VJs, que criam ambientações em suas performances por meio de visuais ao vivo e paisagens sonoras. Nove festas, shows e festivais ocorridos entre 2011 e 2016 são o objeto de análise semiótica detalhada. A seção I descreve os dados, exemplifica a variedade de cenários de VJing e identifica performance ao vivo, efeitos sinestésicos e colagem como três estratégias principais de prática criativa. A seção II apresenta a teoria sobre produção de presença de H. Gumbrecht à luz da semiótica de C. S. Peirce. Também distingue seis dimensões de presença que transformam a pista de dança em um espaço criativo de signos: (1) Stimmung (livres possibilidades de afinação), (2) humor (qualidade materializada), (3) atmosfera (ou encadeamento entre humores), (4) ambiente (movimento entre atmosferas), (5) paisagem (limitações e restrições perceptivas do ambiente) e (6) ambiência (padrões que regulam transições atmosféricas). Na pista de dança, VJs mobilizam qualidades sensórias, combinando-as com ações e hábitos. Eles constroem um universo de Stimmungen a partir dos quais todos os participantes na performance, imersos e rodeados por ambientação, se veem livres para escolher e criar sua própria hélice semiótica. Os efeitos gerais do evento são comoção, emotividade e reações energéticas, juntamente com efeitos de sentido.

A review of the origins of video art uncovers a significant, multifaceted figure, the North American video artist Stephen Beck, who deserves acknowledgment for his contribution to real-time audiovisual production. The creative personality of Beck’s work has taken shape in various fields of artistic expression: video-sculpture, installation, music, performance, music video, videogame design and research. There are no definitive borderlines in Beck’s work; he employs video and other technologies to translate and represent his singular experience.

O objetivo deste texto é caracterizar o VJing como campo de criação, expressão e socialização em contínua conformação, identificando, para isso, algumas das principais linhas de força e influência para a constituição e o crescimento dessa atividade. O discurso e as imagens produzidos pelos VJs são elementos da vida social e cultural, bem como do desenvolvimento tecnológico, mais frequentemente em cidades de médio e grande porte; a intervenção audiovisual em ambientes de diversão e entretenimento possui dimensões indissociavelmente políticas referentes, por exemplo, aos usos de tecnologia audiovisual para ocupação de lugares públicos e privados. Parece ser, assim, que as apresentações do VJ estão geralmente atravessadas por séries de emoções, dilemas e posturas decorrentes da convivência e da comunicação na cidade. Dessa forma, imagens e comunicação propostas pelo VJing têm capacidades para transformar hábitos e relações sociais.

EN:
The main topic of this research is the artistic creation through visual performance today. Within this field, the gesture as a way to control real-time images with digital gesture recognition technology is specifically addressed. As a side topic, we discuss the analogical practice as a source of organic esthetic, opposed to the mechanical esthetic of the digital technology.

ES:
El tema principal de esta investigación es la creación artística dentro de la performance visual hoy. En este campo focalizamos el estudio en el gesto como forma de control de la imágene en tiempo real, con tecnología digital del reconocimiento del gesto. Como tema secundario discutimos la práctica artística analógica como origen de la estética orgánica, y su oposición a la estética mecánica de la tecnología digital.

INTRODUCCIÓN:
Se considera performance a la accione artística que implica el cuerpo y solo es considerada como tal durante su ejecución. Llamamos específicamente performance visual a aquella en que la imagen proyectada tiene un papel principal. Al hablar de performance visual, es inevitable que vengan a la mente conceptos como live cinema, concierto audiovisual, directo, proyección, vjing, nuevas tecnologías, actuación o improvisación, entre muchas otras. Como comienzo tratamos de definir la performance visual acotando su campo de aplicación, poniéndola en relación con otras formas de creación hermanadas, y concretar sus particularidades. Para ello es imprescindible hacer una revisión crítica de la situación actual de la performance en las artes visuales, que tradicionalmente se asocia con eventos transgresores y rituales, para traerla hasta su significado actual. A día de hoy, la performance es estudiada desde los más diversos campos, teniendo como denominador común su vinculación con la naturaleza transitiva de la acción desarrollada aquí y ahora, lo que amplía en gran medida su aplicación en el arte respecto a su concepción más tradicional.

La tecnología, especialmente aquella digital formalizada en el ordenador, cumple un papel clave en la historia de la performance visual y por tanto ocupa el lugar principal en este estudio. La tecnología digital, y por extensión la programación, la síntesis y el procesado de imagen, se sitúa en el origen de un desnaturalización y homogeneidad que hemos detectado mayoritariamente en la estética de la performance visual. Esta tendencia, que denominamos estética mecánica, encuentra un firme opositor en aquellos performers que rechazan el uso de tecnología digital, recuperando formas de creación en directo más tradicionales, mediante la manipulación directa de objetos y materiales. Hemos interpretado esta vuelta a la tecnología pre-digital como un indicador: los performers están pidiendo sistemas de control que les permita una mayor expresividad gestual, y lograr así una estética orgánica.

Esta vuelta a las formas de hacer más tradicionales coincide con la popularización de nuevos dispositivos de control mediante la captación y digitalización del gesto, como Kinect o Leap Motion. Es por ello que, una vez detectada la carencia de una verdadera expresividad y naturalidad en los sistemas de control empleados enperformance visual —que son principalmente tangibles-, proponemos cubrir la necesidad mediante el desarrollo de interfaces propias para el control gestual. El DIY es parte histórica de la performance visual, por lo que nuestra voluntad es la de facilitar una continuidad empleando los estudios y técnicas ya existentes. Pero dadas las peculiaridades del control gestual y su escasez de referencias, el diseño de estas interfaces gestuales requiere un modelo de diseño propio. Éste modelo estará basado en los principios y técnicas de diseño de interacción general, a las que incorporamos soluciones para las particularidades de la performance visual, que extraeremos del diseño de interfaces tangibles específicos, donde las referencias existentes son abundantes.

Based on contact promoted by Pietarinen (2013) between Peirce’s existential graphs and game theory, this work describes and analyzes logical aspects of relations between video jockey (VJ) and audience in festive contexts. The dance floor is a cognitive space, where inscriptions and interferences can be done. The society, as intelligent being, interprets VJ’s performances. Each VJ performance contributes differently to the continuous development of a VJing culture at the social context on which it is inscribed.

Live VJ and interactive Public Projection/ Installations are currently propagating themselves like rabbits throughout many corners of the globe. This presentation looks at some examples of emerging trends, tropes and innovations. In greater detail, with actual live examples the author will outline some of  his own experiments and experiences with various models and contexts of live cinema from installations to live performance in cinema contexts. The playful and somewhat ridiculous question “Is live cinema dead?” builds upon associations with Peter Greenaway’s famous assertion that cinema died in the hands of  the remote control. What is the impact on live cinema of the abundant dispersal of many forms of screens, networked and interactive audiovisual devices? The question also wrestles with what is added or lost, what is achieved, by constructing a film that contains some dynamic, transient, almost ephemeral characteristics that can change at each performance? Does this work best with abstract or narrative styles? Is this a perfect medium to highlight connections between, figuration and abstraction, poetic and factual

Computer arts and, in particular, visual-jockey (VJ) recent interest growth stimulates new developments in real-time multimedia systems. This demand has being supplied by video and effect oriented programs like Resolume, ArKaos and many variants; and by visual programming languages like Pd/GEM, Max/MSP/Jitter and many variants. However, a trade-off between usability (ease of use) and expressiveness (technical limits to create new effects and new functionalities) is not solved in these systems, as verified through VJs interviews.
The work presented in this thesis has two main contributions. The first one is an analytical and original study of existing technologies, including challenges of software architecture for real-time audiovisual processing. The second contribution is the development of the ViMus system, which introduces the concept of “open box graphic interface” in attempt to brighten up the trade-off problem between expressiveness and usability. To achieve that, ViMus makes use of analogous interfaces from simplest systems, like Resolume, and offers gradual access to an analogous processing machine of more expressive systems like Pd/GEM.

Nos interesa comprender que la implantación del código o figura de significación resulta del uso, de la aceptación de la convención. El sonido aporta un carácter espacial, rítmico, emocional y expresivo a la banda de imágenes cuando sobrepasa su mero subrayado dramático. En la construcción del enunciado audiovisual a tiempo real, la implicación fílmica puede relacionar cualquier elemento visual con un
ritmo musical concreto, un movimiento de cámara con una melodía, un color con una nota… y tal vez provocar relaciones de sinestesia en algunos individuos. Se produce
lo que Christian Metz designa como “figuras de continuidad”. Estas implicaciones comportan un carácter simbólico con el que se logra un incremento del la lógica y el sentido discursivo. En consecuencia podríamos admitir un tipo de convenciones o códigos que se repiten en la fenomenología del VJing o Live Cinema, y que devienen fundamentalmente de las interpelaciones realizadas a tiempo real entre banda de imagen y banda de sonido.

VJing, the practice of mixing video images live during a dance party, is a relatively new cultural form, which shows affinities with other contemporary media forms - film, video, computer games, mediatised theatre and the media arts - but appears to have a distinctive identity. Dancing with images is an experience that has its own peculiar meaning and value; it requires specific knowledge to be understood and the right "mood" to be enjoyed. It is difficult for the outsider to locate this practice in a cultural context (it hovers in the no-man’s land between art and entertainment), and to catch the meaning of moving images that do not clearly represent or narrate something and are perceived in motion.
VJing does not fit completely with traditional categorisations in some of the most important fields of cultural analysis. Live visuals appear in very diverse forms that may fulfil different functions. They can be challenging for our structures of perception, trigger deep emotional reactions, or function as a superficial vortex of eye prickles; they can transmit ideological or political messages or just pimp the club with a cool look. Those forms are also differently related with the other elements that play a role in the production and reception of a VJ set: the subcultural context, which clearly influences the choice of the language and content of the visuals and their reception (there are mixing styles, techniques and contents that fit better in certain scenes or clubs than others), and the technological tools.
What is the general value of VJing as a cultural practice then? And how does the video performance transmit ideas and emotions, norms and values within its specific subcultural field? Those two questions appeared to be strictly related. In this study, the relationship between the general social and cultural processes that characterise clubbing and VJing and the semiotic processes within a single performance is analysed from a broad philosophical perspective.
Drawing on Kattenbelt and Habermas I designed a "triadic approach" to VJing that distinguishes between three different orientations and types of communication both at the general level of the cultural field and at the level of the single performance. There is a subjective perspective where the images function as aesthetic objects, addressing the cognitive and affective perceptions of the clubbers; a normative perspective where the mix is understood in the frame of the norms and values of the cultural context - a means to conform to or to change the visual styles of the scene; an objective perspective that highlights the logical aspects of the VJ set, its adaptation to the party structures and the music, and its argumentative grid when it is used to take part in the cultural discourses of the dance community and to express ideas and opinions. The three orientations are "moving principles" that activate and steer processes and arrangements (dispositifs), between the concrete elements - technologies, texts and participatory behaviours - that constitute the practice of VJing.

A partir de los años sesenta surgen nuevas maneras de mostrar y percibir las imágenes, en nuevos contextos o ambientes, generalmente de carácter lúdico y nocturno. Se producen una serie de transformaciones ambientales en torno a la imagen que hacen que su producción y visionado público se vuelvan procesos difícilmente predecibles e interactivos. Se ha llamado imagen-ambiente a una lógica de la imagen que encuentra sus orígenes en eventos iniciáticos como los Exploding plastic inevitable producidos por Warhol y que hoy en día, en parte gracias al impulso de las tecnologías digitales, se popularizan y encuentran nuevos desarrollos en las sesiones de DJ-Vjing. Dada su importancia social y su radical especificidad, proponemos una serie de conceptos que ayudarán a comprender qué territorio ocupa este tipo de imágenes y, sobre todo, qué relación establece con su audiencia. Algunos de los principales conceptos son: afecto ambiental, estímulos en reciprocidad y entrecuerpo. Partiendo del planteamiento deleuziano en la imagen-movimiento y la imagen-tiempo, así como tomando la teoría de los afectos de Spinoza, damos un paso hacia delante para continuar desarrollando el universo conceptual de esta particular lógica de la imagen: la imagen-ambiente.

Corposcopio is a collaborative project that integrates two different worlds or territories: circle dances and new media technologies. Ancient circle dances are cultural manifestations present in different countries around the world. They have a great power of community integration and provide a unique experience of extended consciousness. In Brazil there are a number of amazing circle dances and one of the most popular is called ciranda, whose movements are inspired by sea waves. Ciranda is performed by hundreds of people and some participants fall into a trance. The purpose of the interactive performance is to stimulate, simultaneously, the perception of the media in contemporary reality and the collective body emergence. Corposcopio invites the participants to experience some circle dances and aggregates real-time image manipulation, software art, VJ and remix aesthetics. The transparent, ubiquitous and pervasive presence of computer systems in contemporary spaces is a quotidian fact. Nevertheless, the emergence of digital communities demonstrated the power of the human factor in the disruptive use of technologies. Human beings are social beings. Our depart point is to invite the participants to dance within the scenery of real-time image manipulation, ubiquitous computing and mixed reality. The performance itself deals with co-creation development and uncertainty. Each performance has peculiar characteristics hence it is an open system, open to receive the group interaction and participation. The experience stimulates an extended consciousness, a simultaneous perception of the individual body and the collective body. Our hypothesis is that each group will catalyze the emergence of an embodied consciousness of our mediated situation in a different way. As Bernhard Wosien (1988), one of the pioneer researchers on circle dance, has said, dance is a path to totality. In Wosien's view, circle dance has deep ritual characteristics and evokes a tremendous collective enthusiasm.

Besides the Screen seeks to make an intervention into film and screen studies by examining and considering the elements of cinematic experience, production and dissemination that exist beside the screen. New media technologies impact cinema well beyond the screen; they also promote the reorganization of its logic of distribution, modes of consumption and viewing regimes. This publication speculates about the changes in modes of accessing, distributing, storing and promoting moving images and how they might affect cinematographic experience, economy and historiography. In doing so, Besides the Screen examines three key themes: distribution, promotion and curation. The volume's main argument is that we must examine those practices that exist besides the screen if we are to consider fully how filmic experience is mediated by various technological and societal changes in the early decades of the twenty-first century.

Stan Brakhage en su cine se configura a partir de una multitud de transgresiones de la normatividad cinematográfica. Voz del cine independiente y reclamo su autonomía de hibridación con las artes en su contexto. El presente ensayo, se trata de determinar cuáles son estas transgresiones en su obra. Señalo influencias significativas en su cine,
haciendo especial hincapié en la lectura desviada de las vanguardias anteriores y su ruptura con la normatividad cinematográfica en las crisis de la representación y la narración. Ellas posibilitaron hoy en el siglo XXI otras lecturas divergentes en el Discurso Audiovisual en busca de la expansión y autonomía. Es una participación de las emociones de la creación cinematográfica. Considero la práctica cinematográfica en todo su proceso,
poniendo en valor las decisiones; antes de querer leer las imágenes proyectadas como ideas. Sostenemos el valor poético del cine experimental en las percepciones que genera con los procedimientos expresivos, y no con aquello que puede representar a fin de plantear una tensión con los modos de representación y percepción que solicitaba el cine clásico.

Las porosas fronteras entre la práctica experimental, el cine de la modernidad y el arte contemporáneo abren puertas a las más hermosas utopías del cine. Es propicio reflexionar sobre las fronteras y ámbitos de que y quienes determinan que es el cine y cuestionamos el análisis narratológico y textual de los audiovisuales , sino desu relación en sus contextos. Esta reflexión no es un tema nuevo: De hecho, tiene cincuenta años de haber comenzado su discusión. No basta con mirar el momento presente. Es fundamental volver la vista atrás y buscar comprender con más profundidad cómo surge esta idea de la expansión en Youngblood observados hoy como antecedentes en las Artes Multimediales.

Por meio da análise do filme Ressaca, de Bruno Vianna, este trabalho examina como a narrativa cinematográfica pode ser atualizada através da performance. Tal filme situa-se dentro de práticas audiovisuais emergentes, que expandem o dispositivo cinematográfico. Esta análise busca identificar como o cinema instituiu-se como uma forma hegemônica, como essa forma foi expandida, historicamente, através de obras e práticas específicas, até culminar em uma espécie de cinema performado. Também busca investigar o que há de performático em Ressaca, compreender como a performance opera, nesse filme, de modo a fazer a narrativa variar. Para esses propósitos, foram analisados os elementos formais e performáticos do filme em duas apresentações específicas dessa obra.

Through the analysis of the movie Hangover, from Bruno Vianna, this work examines how the film narrative can be renewed through the performance. This film is situated within emerging audiovisual practices that expand the cinematographical device. This analysis seeks to identify how the cinema has established itself as a hegemonic form, how this form has been expanded, historically, through works and specific practices, culminating in a kind of film performed. It also investigates what is performative in Hangover and tries to understand how the performance acts, in this film, in a way to make the narrative vary. For these purposes, were analyzed the formal and performative elements of the film in two specifics presentations of that work.

Art of fact.

A deconstruction of work by filmmaker, Jean Vigo, cameraman, Boris Kaufman and composer, Maurice Jaubert. With further material from Dziga Vertov, Walter Ruttmann, Mikhail Kaufman (camera), Elizaveta Svilova (editor), and Cox & Marley.

'Vigo' (April 2019) is a much edited and re-vamped version of audiovisual improvisations from 2011 that used bespoke a/v hardware and software to play freely with plundered and original images and sounds. This was performed against the backdrop of a fixed collage work created using the music of Jaubert and uncredited accordion.

Please note: recording the materials live resulted in an inevitable drop in visual quality that could not be avoided.

Reader-response theories suggest that to learn, we interact with our surroundings. Conversing can be a form of engaged learning and can take place during live events in informal venues such as nightclubs. As a VJ, having moved away from the nightclub to the cinema-type environment, I may have lost the socially engaged learning that conversation facilitates. What would happen were I to introduce virtual conversations? What would the audience talk about and would the experience, both for the audience and I, be any the richer for it?