Vidéo-Art à Vienne

Paulo R. C. Barros me fait savoir:
Samedi 22 novembre, au Media Art, Electronic Culture and Music event à l'ElektroGönner, à Vienne (Autriche), les musiciens et DJs étaient Trockenmoos, Nina Kay, Mara String Trio, Evirgen & Tung Lashor, et les visuels étaient siens ou de l'autrichien Netrebko. La soirée était offerte par la Société de Nouvelle Musique de Chambre de Vienne.

Partie du spectacle à voir à:
http://www.youtube.com/watch?v=SZPdf-1aLMw

Un nouveau texte de SF sur video de Paulo R C Barros

http://www.paulorcbarros.com/scifi03.htm

"Neonerd", sci-fi short story por Carlos Relva inspirada na videoarte de Paulo R. C. Barros.
Em quatro idiomas: espanhol, português, francês e inglês por Georges Bormand e Rynaldo Papoy.

Abraços,
Paulo

Festival de Video-art en Grèce

Paulo R. C. Barros, avec qui je collabore pour écrire ou traduire des textes d'accompagnement à ses vidéos, a été sélectionné entre plus de 700 artistes du monde entier comme participant au grand festival de vidéo-art qui aura lieu en septembre prochain en Grèce et dont voici l'annonce en anglais

NeMe: The Mirror Stage

NeMe, in collaboration with Lanitis Foundation and the Cyprus University of Technology presents 'The Mirror Stage', a video program and talks at Lanitis Foundation and other places in the Limassol city centre.

The program which is presented by IMCA and coordinated by Yiannis Colakides, includes:

* 17 September 2008, 8.00pm, VJ Event by Felipe Frozza (BR) and Luigi Vitali(IT), THEATRO ENA, Limassol, Cyprus

* 20 September 2008, 4.30pm, Academic Conference on New Media. Speakers: Dr Edward Shanken (US), Dr Dimitris Charitos (GR) and Dr Christos Barboutis (GR). Moderator: Dr Antonis Danos (CY), Lanitis Foundation, Limassol, Cyprus

* 20 September 2008, 8pm, Opening of 'The Mirror Stage' Exhibition, Exhibition, Duration: 20-29 September 2008, Lanitis Foundation, Limassol, Cyprus

* 22 September 2008, 5-8pm, Public Screen 1 - continuous screening of some of the selected videos, Dinos Art Cafe, Irinis st, Limassol, Cyprus

* 25 September 2008, 5-8pm, Public Screen 2 - continuous screening of some of the selected videos, Veni Vidi Vici, Kanari st, Limassol, Cyprus

* 27 September 2008, 9am-1pm, Public Screen 3 - continuous screening of some of the selected videos, Brent Cross, Anexartisias st, Limassol, Cyprus

'In 1980 Bill Viola recorded in his notes: 'No beginning/No end/No direction/No duration - Video as mind' (Silvia Martin, Video Art, 2006). In his book 'Videography' (1994) Sean Cubitt wrote: 'There is no video theory in the way that there is a body of knowledge called film theory or, rather differently, television studies.' Cubitt's reflections 'assume the status of art and take its place' (Dellbrügg & de Moll, Theorie Remix, 1994 on art criticism). These diverse or - one might argue - parallel approaches between the practitioners and the theorists prevent the establishment of a unifying theory for video which has not only developed but also expanded its presence in our everyday life. The plethora of theoretical texts discussing either its various capture, compositing or presentation technologies or the videos themselves can currently be viewed as art instead of guiding 'manuals'. As such this art genre exists in a perpetual state of flux not governed by textual volumes but by the practitioners and the advances in hardware and software technologies.

The current reliance of video on an ever developing software technology forces the video makers to relearn their craft on every major software update. This (bi)annual update of software tools create a cycle where the knowledge of the tool needs to be re-discovered leaving the video makers in a perpetual state of not only conceptual but also technical exploration. These explorations are present in most video exhibitions, the internet, etc helping this art genre to exponentially grow in the past ten years allowing it to create a presence and an ever growing international audience.

The events are focused in the presupposition that video has reached a level of consciousness that could potentially be determined through its contradictions. As such the program looks at video through the Lacanian, 'Mirror Stage'. That is, how the reflected image acts as a basic ingredient in the constitution of the picture from the subject and how this can be translated as commentary on the state of video, today.

The participating video makers are: Ziad Alhalabi, Muhammad Ali, Sonia Armaniaco, Paulo R. C. Barros, Neil Beloufa, Orit Ben-Shitrit and Harold Moss, Cristiano Berti, Nisrine Boukhari, Nathan Boyer, Rose Butler, Domenico Buzzetti, Blake Carrington, Marina Chernikova, Christodoulos Christodoulou, Paul Destieu, Alexei Dmitriev, Dubrass, Yiannos Economou, Joëlle Ferly, Taryn FitzGerald, Thorsten Fleisch, Adonis Florides, Michael Fortune, Felipe Frozza, Jonathan Gitelson, Suguru Goto, Gruppo Làbun, Ann Guest, Henry Gwiazda, Rich Heeman, Sonja Hinrichsen, Sam Holden, Tammy Honey, Sharon Horodi and Cheb M. Kammerer, Chris Ireland, Maria Rosa Jijon, Aditi Kulkarni, Robert Ladislas Derr, Aileen Lambert, Brendan Lee, LEMEH42, Youssef Limoud, Ron Longsdorf, Simon Longo, Lustre, Avigail Manneberg, Jonathan David McPherson, Michaela Nettell, Anne Niemetz, Jonas Nilsson, Eric Olofsen, Eva Olsson, Sharon Paz, Anat Pollack, Stuart Pound, Zach Rockhill, Daniel Rodrigo, Antti Savela, Guli Silberstein, Roddy Simpson, Sean Simpson, Elizabeth Smolarz, Megan Smith, Oliver Smith, Tobias Sternberg, Evelin Stermitz, Dia Theodorou, Jennie Thwing, John Tronsor, Lee Wells, Vagner M. Whitehead, Shaun Wilson, Gordon Winiemko, David Yates, Theodore Zeldin and Poppy Sebag-Montefiore.

'The Mirror Stage' events are sponsored by The Cultural Services of the Cyprus Ministry of Education and Culture, The US Embassy in Cyprus and Hadjikyriakos & Sons Ltd.

Plein les yeux et les oreilles

Le dernier montage video-sonore de Paulo R C Barros, "Sci-Fi ers", sur la bande-son "2 Lovers Robots" de Fabio Amaral
http://www.virb.com/httpwwwpaulorcbarroscom/videos/45694

Texte publié sur le Net

Paulo R.C. Barros, auteur brésilien de nombreux clips musicaux sur YouTube, m'a demandé un texte pour illustrer une de ses vidéos, Spacey Noises;
je lui ai écrit ce texte en français, anglais (il a été amélioré après que certaines erreurs m'aient été signalées par Angel Aliaga), castillan (id.) et lui l'a fait traduire en portugais par Alexandre Rojas).
Voici les résultats:

Français

Spacey-Noises

Qui a dit que dans l’espace on n’entend aucun bruit ? C’est vrai si on est dans le vide, bien sûr, mais pas dans un vaisseau spatial. Quand le vaisseau file à des milliers de km par seconde, le frottement sur les parois des molécules d’hydrogène suffit à produire un sifflement permanent qui résonne à l’intérieur.

Et à chaque accélération, le bruit devient plus aigu ; sans compter les rencontres avec des nuages plus ou moins denses d’atomes variés. C’est une musique lancinante. Mais n’est-ce pas d’une certaine façon la musique des sphères que vantait Huyghens ?

Certains spationautes ne la supportent pas, et la camouflent en passant en permanence leurs enregistrements sonores préférés ; moi je l’aime, c’est la musique de mes voyages ; quand je ne suis pas en vol, elle me manque. Le moindre changement de ton, ou d’amplitude, du son me réveille au milieu de mon sommeil.

J’ai enregistré quelques minutes de sonorités particulièrement jolies (à mon goût ; défense de le contester), ainsi que les images des écrans de contrôle de la nef qui étaient associées à ces bruits.

Quand je les montre, certains me plaignent : « Comment pouvez vous supporter ce vacarme pendant toute la durée d’un vol ? »

C’est moi qui les plains de ne pas savoir reconnaître ce qui est beau. Les pauvres.

Il faut dire que le vol pendant lequel j’ai fait cet enregistrement n’a pas été de tout repos ; la fusée a frôlé un astéroïde de grande taille ; quand je dis frôlé… je suis passé à moins de 10 km de l’astéroïde ; mais, à 10km de la partie rocheuse, la concentration en molécules gazeuses était déjà plus de cent fois ce qu’elle est dans le vide « absolu », et le concert dû à la mitraille qui heurtait les parois de l’astronef était proportionnellement accru. Tout compris, entre les manœuvres d’évitement quand l’astéroïde a été repéré et celles de correction de trajectoire pour compenser les deux déviations, celle liée à l’évitement et celle provoquée par la rencontre, j’en ai eu pour plusieurs heures ; alors l’enregistrement me rappelle aussi à la prudence nécessaire dans tout vol.

D’ailleurs, il est grand temps que je pense au vol en cours, avant qu’un accident ne se produise pendant que je vous parle…

Anglais

Spacey-Noises

Who said that in space one doesn’t hear any noise? It’s true for one who is in the real void, of course, out of the spatial ship. But inside the ship, when it runs at thousands of kilometers per second, the rubbing of tiny atoms of hydrogen against the sides of the ship suffices to produce a permanent whistling which fills the cabin.

Every time the ship accelerates, the noise becomes shriller; not counting encounters with more or less dense clouds of various atoms. It is a lancinating music; isn’t it, really, what eulogized Huygens as “the music of spheres”?

Some astronauts cannot stand it, and they need to mask it with their favorite music records constantly playing throughout the trip; I love it, it is the music of my voyages in space, and when I am not in flight I miss it. Every change in the sound, in the tone or in the loudness, wakes me up when I am sleeping.

I recorded a few minutes of particularly pretty sounds (it’s my taste, how do you dare to contest it?), and corresponding images from the control screens of the ship.

When I play them, some feel sorry for me and ask: « How can you endure such uproar a whole flight long? »

I feel sorry for them, who are not able to recognize beauty. Poor men.

I must tell that the flight during which I recorded these minutes was not an easy going one ; the rocket nearly crashed on a large asteroid ; when I talk of a near miss, I mean that I passed at about 10 kilometers from the asteroid ; but ten kilometers from the rocky core is a zone where the concentration in gaseous molecules is already more than one hundred times that of the ordinary void, and the concert I owed to the hail of shots against the walls of the ship was proportional to this increasing. In all, between the actions needed to avoid collision when I discovered the danger, and the trajectory corrections to compensate for both deviations, the avoiding moves and the consequences of the meeting, I needed to work many hours; thus the record reminds me also of the needed wariness in every flight.

Besides, it is now time that I put all my attention upon the present flight, before an accident occurs because I am absent-mindedly speaking to you …

Castillan

Spacey-Noises

¿Quien ha dicho que en el espacio no se oye ningún sonido? Es cierto para uno que esta en el vacío, seguro, pero no lo es dentro de una nave espacial. Cuando la nave corre a miles de kilómetros por segunda, el frotamiento en las paredes de las moléculas de hidrogeno es suficiente para producir un silbido permanente que resuena en toda la nave.

Y el sonido se hace más agudo cada vez que la nave acelera; sin contar los encuentros con nubes más o menos densas de gases o de átomos variados. Es una música lancinante. Quizá es, en cierto modo, la música de las esferas que había prometido Huyghens?

Algunos astronautas no la soportan y la esconden bajo música o sus grabaciones preferidas; pero a mi me gusta, es la música de mis viajes; cuando no estoy en vuelo, la echo mucho de menos. El menor cambio de tono o de amplitud me despierta del sueño más profundo.

He grabado algunos minutos de los sonidos más bellos (a mi entender), así como imágenes de las pantallas de control de la nave asociadas con estos sonidos.

Cuando les muestro, algunos se compadecen de mi: « ¿Como puede usted soportar tal jaleo durante un vuelo entero? »

Yo les compadezco a ellos que no saben como reconocer lo bello. Pobres.

Se debe, con verdad, decir que el vuelo en cual grabé estos sonidos no fue un vuelo muy fácil; el cohete rozó un asteroide muy gran; cuando digo rozó… pasó a unos diez kilómetros del asteroide; pero, a diez kilómetros de distancia del corazón rocoso, la concentración en moléculas gaseosas era ya cien veces mayor que en el vacío “absoluto” y el concierto debido a la metralla golpeando las paredes de la nave fue proporcionalmente acrecentado. Con todo, contando las maniobras para evitar el asteroide cuando lo había descubierto y las necesarias para corregir la trayectoria compensando ambas desviaciones, la de evitar el asteroide y la debida a su atracción, hube de trabajar como un loco durante horas; luego la grabación también me recuerda cuanta prudencia se necesita cada vuelo.

Pero ya es hora de dedicarme al vuelo, antes que ocurra un accidente mientras que os hablo…

Portugais (traduction Alexandre Rojas)

Spacey-Noises

Quem disse que no espaço não se ouve nenhum ruído? Isso é verdade, evidentemente, para quem se encontra no vácuo, do lado de fora da nave. Mas dentro da nave, quando ela avança a milhares de quilômetros por segundo, a fricção dos insignificantes átomos de hidrogênio contra as paredes da nave é suficiente para produzir um sibilo contínuo que toma conta do interior da cabine.
Toda vez que a nave acelera, o ruído fica mais estridente; para não falar dos encontros com nuvens mais ou menos densas de outros átomos. É uma música pungente; não teria sido isso, aliás, que Huygens enalteceu como "a música das esferas"?
Alguns astronautas não a toleram, e é preciso abafá-la com sua música favorita, a tocar sem trégua durante toda a viagem; eu a adoro, é a trilha sonora de minhas viagens espaciais e, quando não estou voando, sinto falta dela. A mais leve alteração sonora de freqüência ou amplitude é capaz de me despertar.
Registrei alguns minutos de sons particularmente encantadores (é a minha percepção, dispenso comentários) e as imagens que lhes correspondem nos monitores de controle da nave.
Quando ponho-os para tocar, algumas pessoas se apiedam de mim e perguntam: "Como você consegue suportar esse barulho infernal durante uma viagem inteira?"
Tenho pena delas, incapazes que são de reconhecer o belo. Pobres diabos.
Devo dizer que o vôo durante o qual registrei esses minutos não foi dos mais fáceis; o foguete quase colidiu com um gigantesco asteróide; quando falo de tirar um fino, devo precisar que passei a cerca de dez quilômetros dele; mas a dez quilômetros da parte rochosa estamos numa zona onde a concentração de moléculas de gás é cem vezes maior do que no vácuo ordinário, e o concerto proporcionado pela saraivada de choques contra as paredes da nave foi proporcional a esse adensamento. Ao todo, entre as medidas necessárias para evitar a colisão quando constatei o perigo e as correções de trajetória para compensar os dois desvios – um para contornar o asteróide e o outro causado por sua atração –, foram horas de grande apreensão; de modo que esse registro me lembra também da atenção imprescindível em cada vôo.
Além disso, está na hora de concentrar toda minha atenção no vôo de agora, antes que aconteça um acidente porque estou aqui conversando despreocupadamente com vocês...

La vidéo est visible là:

http://br.youtube.com/watch?v=M6dajjU_VzY

"Spacey-Noises" VideoArt Download

http://www.4shared.com/file/35004374/4845d1e1/Spacey-Noises.html?dirPwdVerified=320fc130

Bien sûr, j’attends commentaires et critiques d’esprit (mutant) ferme…