ALMOST OVER, PERFORMANCE BY ANTÓNIO AZENHA
"Almost Over" is the culmination of a series of actions in which the aggregation was a instantaneous and spontaneous record of a set of technological bugs.
The performance Paintbugeggex have been the origin of these unborn technology children whose their first tracks / steps have been chance, based on trial and error, surreal, assuming the exqui corpse method, through which the amniotic nectar took respectively the primary colors supported by a savanna squares of paper, previously prepared nest by the performer.
On "Birimbau Wangolé" and "Cavern Bug", the performer had access to the nectar and he sought the noetic state, trance necessary to decide when driving on or off the ritual of various technological beings (bugs). It was intended to establish a continuing situation, like a primitive world, where are no boundaries between animal, vegetable and mineral, all belonging to the same sacred whole. A search of primary forms, a return to a primordial time, the resacralization of the artistic act.
In "Cabaret Bugon" and keeping the experimentation of translanguage, was decisive the time / space, which was attended by officials from various artistic expressions. From there come the contamination between the natural and the VJ'ing whirlwind of sounds through the human voice and sound of the cello. This unison gave the observer a double reading of the action, as in physical space were few records used plastic alphabet, texture, spot, line, point...
By mixing online new data that emerged inevitably provided a wider reading of all action.
Now on the performance "Almost Over", these technological bugs reached its maturity phase, pointing its terminus. The claim of the involvement of the viewer as player of the game will be a fundamental feature of this performance, brushing the border from happening.
The performance Paintbugeggex have been the origin of these unborn technology children whose their first tracks / steps have been chance, based on trial and error, surreal, assuming the exqui corpse method, through which the amniotic nectar took respectively the primary colors supported by a savanna squares of paper, previously prepared nest by the performer.
On "Birimbau Wangolé" and "Cavern Bug", the performer had access to the nectar and he sought the noetic state, trance necessary to decide when driving on or off the ritual of various technological beings (bugs). It was intended to establish a continuing situation, like a primitive world, where are no boundaries between animal, vegetable and mineral, all belonging to the same sacred whole. A search of primary forms, a return to a primordial time, the resacralization of the artistic act.
In "Cabaret Bugon" and keeping the experimentation of translanguage, was decisive the time / space, which was attended by officials from various artistic expressions. From there come the contamination between the natural and the VJ'ing whirlwind of sounds through the human voice and sound of the cello. This unison gave the observer a double reading of the action, as in physical space were few records used plastic alphabet, texture, spot, line, point...
By mixing online new data that emerged inevitably provided a wider reading of all action.
Now on the performance "Almost Over", these technological bugs reached its maturity phase, pointing its terminus. The claim of the involvement of the viewer as player of the game will be a fundamental feature of this performance, brushing the border from happening.
