apresentação 03.06.2008

apresentação do projecto

http://www.audiotexto.blogspot.com |dgm 2.0 |ana sofia costa |03.06.08

“(…) the voice travels through space, bodies stay where they are.”

CHION,Michel-The voice in cinema. Columbia University Press. New York,1999.

Tal como foi explicitado na pré-apresentação deste projecto, o objectivo deste projecto seria a exploração do conceito de link e hipertexto. Este objectivo seria conseguido através da construção de um enredo de interpretações de textos (extrapolados do contexto do texto “The traveller” de Gerhard Potuznik).

A exploração destes mesmos foi realizada primeiramente através da transcrição de palavras e expressões do texto inicial “The Traveller” (the room; neither windows nor doors; a laptop on the; desk; they exist of places and spaces; the meagre message; light out of the; monitor; i stared hypnotyzed; gleaming white; transparent film; individual spaces with a great view;the words that is the secret; the arrow; into the crowd; somebody continually repeating numbers; in the passenger seat; deep breath; it’s light and i’m alone; i don’t understand a word; i begin to understand them),a que se seguiu a transformação das expressões e palavras em textos e extrapolações num contexto web (através de plataformas de busca, onde se utilizava o primeiro dado resultante da pesquisa; resultando nos textos técnica de hipnotismo, space invaders, dimension, space, etc.)

Posteriormente, todos os textos foram interpretados por alunos de teatro da ESMAE (nomeadamente, Manuel Marques, Maria Mata, Rita Machado e Tiago Correia); criando-se através das interpretações vários samples, que serviram para a mistura final, transformando-os no enredo de links (vocais); onde o conceito de presença física se extrapola através da conexão do espaço físico, disposto com a própria realidade dispersa mas conexa, que o audiotexto cria entre estes dois pólos.

flyer

sala de apresentação- disposição dos materiais

medidas da sala de apresentação

proposta de sala de apresentação

No seguimento da exploração e análise de todos os componentes a ser dispostos no espaço, cheguei à conclusão que o espaço mais conveniente à preparação destes mesmos objectos, seria uma sala ampla,onde se articulem:

-2 subwoofer
-8 colunas
-5 candeeiros
-3 cortinas de pano preto (de forma a isolar a luz natural)
-2 dvd

Assim sendo, a proposta a efectuar será a uma sala de um apartamento (Rua Duque de Saldanha,422,2ºandar; 3ª rua perpendicular à avenida Rodrigues de Freitas, em direcção a Campanha);contornando assim a limitação da Faculdade face a salas disponíveis e manipulação atempada da mesma.

explicação do projecto AUDIOTEXTO

Extensão da narrativa “The Traveller” e extensão dos conceitos utilizados no trabalho anterior: hipertexto, multimédia, hipermedia; através do audiotexto (construção base de novos textos em duas línguas, inglês e português e colaboração de alunos da ESMAE na produção do áudio-texto e consequente interpretação do mesmo).

Utilização do conceito de espelho/transparência/interactividade através da criação dum enredo de textos e subsequentes interpretações do mesmo;utilizando as diferentes vozes como contrução e exploração dos diferentes contexto, fragmentando-as.

O hipertexto será explorado através da fragmentação dos textos, explorando a vertente web em audio, ou seja, através de uma estrutura de links realizada pela estruturação e interligação de palavras, significados, explicações, onomatopeias,etc.

Metodologia de trabalho: através da narrativa “the traveller”, retirar os conceitos/expressões que se pretende explorar e a partir dessas transcrições retira-las do próprio contexto, através da criação de textos únicos e extrínsecos à narrativa inicial. Esses textos são construídos com base num enredo de links, tanto a nível da web como também por pensamento lateral e horizontal. Depois de realizar a primeira etapa (construção dos textos), estes serão partidos em expressões,palavras e serão pesquisadas em material extrinseco à narrativa (como livros, internet, jogos de dedução primária,etc),por forma a retira-las do contexto inicial e através de uma estrutura nao linear construir uma narrativa paralela à inicial.

Criação final de um enredo onde a voz seja extrínseca à figura humana. Jogar com o conteúdo da voz como algo que viaja muito para além do espaço onde o corpo se concentra (conceito de eco, ressonância, etc.)

Disposição do som no espaço: cruzamento das várias leituras dos textos, sendo estes dispostos em pontos diferentes da sala, tornando-se completamente imperceptíveis (através da justaposição dos mesmos), nalguns pontos da sala; e perceptíveis quando aproximação a um em concreto (ponto concreto da sala, onde se encontra esse determinado som).

apresentação (imagens)

sexto texto

Meteorologia

3ª Feira, 13 de Maio de 2008 Céu geralmente muito nublado, apresentando boas abertas
durante a tarde.
Períodos de chuva, passando a aguaceiros, em geral fracos.
Vento fraco a moderado (10 a 25 km/h) do quadrante oeste.
Neblina ou nevoeiro matinal.

ESTADO DO MAR
Costa Ocidental: Ondas de oeste com 1,5 a 2 metros.
Temperatura da água do mar: 15/16ºC
Costa Sul: Ondas de sudoeste inferiores a 1 metro.
Temperatura da água do mar: 16ºC

TEMPERATURAS MÁXIMAS PREVISTAS:
PORTO - 17
LISBOA - 21
FARO - 17

OS METEOROLOGISTAS: Elvira Palma/ Ângela Lourenço

4ª Feira, 14 de Maio de 2008 Céu geralmente muito nublado.
Aguaceiros, em especial nas regiões Norte e Centro.
Vento fraco a moderado (10 a 25 km/h) do quadrante oeste,
soprando moderado (25 a 35 km/h) de sudoeste no litoral a norte
do Cabo Carvoeiro e nas terras altas.
Pequena descida da temperatura.
Neblina ou nevoeiro matinal.

ESTADO DO MAR
Costa Ocidental: Ondas de noroeste com 1,5 a 2,5 metros.
Temperatura da água do mar: 15/16ºC
Costa Sul: Ondas de sudoeste com 1 metro.
Temperatura da água do mar: 16ºC

5ª Feira, 15 de Maio de 2008 Céu geralmente muito nublado.
Vento fraco a moderado ( 10 a 25 km/h) do quadrante oeste, soprando
moderado a forte (25 a 40 km/h) de sudoeste nas terras altas.
Períodos de chuva ou aguaceiros, em especial nas regiões do Norte
e Centro.
Pequena subida da temperatura mínima.
Neblina ou nevoeiro matinal. 6ª Feira, 16 de Maio de 2008 Céu muito nublado.
Vento em geral fraco ( inferior a 20 km/h) do quadrante sul, rodando
para norte.
Períodos de chuva ou aguaceiros, em especial nas regiões do Centro
e Sul.
Pequena descida da temperatura.
Neblina ou nevoeiro matinal.

quinto texto

Space

Space is the property of the universe^[1] in which matter is physically extended and objects have positions relative to one another^[2].

In classical mechanics, space was originally treated as being separate from time and is thought of as one of the few fundamental physical quantities. In Isaac Newton's view space was absolute, and held that it exists permanently and independently of whether there is any matter in the space or moving through it^[3].

In mathematics spaces with different geometries and numbers of dimensions are described, and this is used in modern physics where both space and time are to be thought of as part of the boundless four-dimensional continuum known as spacetime. From the experimental support for Albert Einstein's theory of relativity scientists now find that space and time cannot be entirely separated. In addition, space is found to have physical properties^[4] including intrinsic curvature which varies according to mass distribution. Therefore it was Einstein's view that space and matter cannot be entirely separated either.

Among physicists and philosophers there is disagreement regarding whether space is itself an entity, or is part of a conceptual framework.^[5]

in wikipedia

quarto texto

dimension

In mathematics the dimension of a space is roughly defined as the mimimum number of coordinates needed to specify every point within it^[1][2]. Dimensions can be thought of as the axes in a Cartesian coordinate system, which in a three-dimensional system run left-right, up-down and forward-backward. A set of three co-ordinates on these axes, or any other three-dimensional coordinate system, specifies the position of a particular point in space^[3]. In the physical world, according to the theory of relativity the fourth dimension is time, which runs before-after. An event’s position in space and time is therefore specified if four co-ordinates are given.

On surfaces such as a plane or the surface of a sphere, a point can be specified using just two numbers and so this space is said to be two-dimensional. Similarly a line is one-dimensional because only one co-ordinate is needed, whereas a point has no dimensions. In mathematics, spaces with more than three dimensions are used to describe other manifolds. In these n-dimensional spaces a point is located by a set of n co-ordinates {n₁, n₂, … n_n}. Some theories, such as those used in fractal geometry, make use of a non-integer and negative numbers of dimensions.

Another meaning of the term "dimension" in physics relates to the nature of a measurable quantity. In general, physical measurements that must be expressed in units of measurement, and quantities obtained by such measurements are dimensionful. An example of a dimension is length, abbreviated L, which is the dimension for measurements expressed in units of length, be they meters, nautical miles, or lightyears. Another example is time, abbreviated T, whether the measurement is expressed in seconds or in hours. Speed, which is the distance (length) travelled in a certain amount of time, is a dimensionful quantity that has the dimension

in wikipedia

terceiro texto

Space Invaders (スペースインベーダー, Supēsu Inbēdā^?) is an arcade video game designed by Tomohiro Nishikado in 1978.^[2] It was originally manufactured by Taito and licensed for production in the U.S. by the Midway division of Bally. Initially released in its native Japan in 1978, it ranks as one of the most influential video games ever created.^[3] Though simplistic by today's standards, it was one of the forerunners of modern video gaming.^[4]

in wikipedia

segundo texto

Permaneça tão confortável quanto possível. Agora faça uma respiração profunda. Inale profundamente e exale lentamente deixando seu corpo o mais relaxado possível. Feche seus olhos e mantenha-os fechados. (Pausa). Ainda com os olhos fechados faça-os girar para cima, para baixo e para os lados. Isso. Mais uma vez. Deixe os músculos de seus olhos ficarem completamente relaxados, tão relaxados que eles deixam de trabalhar. Ótimo. (Pausa). Neste momento eu lhe pedirei para fazer um teste. O teste é para descobrir o quão relaxados estão os músculos de seus olhos. Quando você fizer esse teste não abra seus olhos só para mostrar-me que você pode abri-los. Eu sei que você pode. O teste é apenas para provar a você mesmo que você está tão relaxado que seus olhos não funcionarão, mesmo quando você tenta fazê-los funcionar. Quando você sentir que eles estão muito relaxados, pode testá-los, e você vai perceber que eles estão paralisados, como se estivessem grudados. (Pausa). Agora, se você estiver completamente relaxado, e pronto para o teste, pode tentar.”

“Isso é ótimo. Mais uma vez, faça seus olhos girarem para cima, para baixo e para os lados. Isso. Agora gire seus olhos para baixo e deixe seu corpo todo relaxar. Tome essa sensação agradável de relaxamento que está em seus olhos e a leve para o resto de seu corpo, do topo de sua cabeça até as pontas de seus dedos dos pés. Esta é uma sensação muito agradável.
O relaxamento pode significar várias coisas para pessoas diferentes. Para algumas relaxar é sentir-se pesado e afundar numa cama confortável. Outras pessoas sentem-se leves como uma pluma, como se flutuassem. Você sente-se pesado? Apenas acene. Ou você sente leveza, como se estivesse num tapete mágico? Apenas acene. Agora pense num lugar agradável, pode ser real ou imaginário. Um lugar de calma, paz, serenidade, tranquilidade, seu próprio lugar. Seu lugar secreto especial. Comece a se sentir ainda melhor. Sinta a temperatura... veja as cores... ouça os sons...sinta os cheiros...Sinta o seu lugar especial. (Pausa).
Fique assim por um tempo. Daqui há pouco você vai despertar. Eu vou contar lentamente até 5, e você vai sentir a excitação aumentar a cada número. Quando eu disser 5 você estar totalmente acordado e continuará sentindo-se bem. Tudo voltará ao normal. 1...........2...........3...........4..........5"

primeiro texto

I’m at the room, and I stare hypnotized to all space! My mind is flying away, and my eyes only see a transparent film, where individual spaces with a great view trying to put me in another dimension.

I awake to another dream.

I’m now in the passenger seat, going into the crowd, here I can see only the light out of a laptop, here’s somebody is continually repeating numbers…now…it’s light and I’m alone, I take a deep breath…I’m really awake, and I didn’t understand a word… the words… that’s the secret.

citações/referências:

MULDER,Arjen-Uunderstanding media theory. V2_publishing/Nai publishers.2004, Rotterdam.

“A system is interactive if it is flexible. Enough to adapt to the way people use it, and if conversely the users are also altered by the changes they cause in the system.” (183)

“interactivity is the normal state of every living system, for living means connecting oneself to other systems and reconstructing oneself and others during this connection by means feedback loops.” (184)

“interactivity artists make actualization hypermedial: they allow virtual behaviour to design itself, develop itself to such a degree that its users experience all.” (192)

LEVINSON,Paul- Digital Macluhan. 2001

“the effect of a medium is made strong and intense just because it is given another medium as content.”(37)

“in other words, the user is the content of the internet”(39)

“the paper makes a startling point: what we consider normal or natural visual space is actually a technological artefact-a result of a perceptual habits created by reading and writing with a phonetic alphabet” (44)

“acoustic space comes before alphabet” (45)

“these rear-views mirrors are not distortions, and their examples call attention to an important benefit of walking into the future with our eyes upon the past: the rear-view mirror, like metaphor, help us with the terms and feel comfortable with new media.” (176)

BOLTEN, Jay David ; GROMALA, Diane-Windows and mirrors, interaction design, digital art, and the myth of transparenc.2003.

“if we look through the interface, we cannot appreciate the ways in which the interface itself shapes ur experience.” (9)

“every application must be an experience” (22)

“today we do not operate computers; rather we interact with them,and successful digital artefacts are designed to be experienced, not simply used” (22)

“(…) the web is about gleaming information as rapidly as possible from transparent pages of words and images (…)” (24)

“the form and content of web pages are inseparable.” (24)

“the best digital art can help us see how to design for multiplicity, because such art adapts itself to the user rather than forcing the user to follow a rigid script.” (24)

“the essence of digital design is to work on two levels at once-to be both mediated and immediate” (25)

“digital art, like other applications, often opens a window for us, as we look through the computer screen to see the images on information located “on the other side” (26)

“(…) digital art remind us that every interface is a mirror as well as a window.” (26)

“(..) digital interface are like mirrors in the sense that they physical surroundings, her immediate working on home environment defined by her language and culture (…)” (27)

“the word frame remind us of the interface, while the word window help us to forget the interface and concentrate on the text or data inside” (42)

“the designers task is to make the interface transparent to the data” (42)

“the user saw everything through these resizable, movable blocks that contained, managed, and presented texts and images. Windows could be stacked, they could overlap, and each was a view onto a world of information and visual experience” (45)

CHION,Michel-The voice in cinema. Columbia University Press. New York,1999.

“Quite to the contrary, it’s enough for the voice to be signified by the moving lips of the actors in the image.”

“(…) the voice travels through space, bodies stay where they are.”

“(…)in addiction,it can have the effect of “suspending” a character we see from the voice of someone we don’t see, who thereby gains all the powers of an acousmêtre.”

“In his films, the voice is not an emphatic vehicle for text; the voice instead heps to shape the character’s costume and physical behaviour” (about Jacques Tati)

text from links

I’m at the room, and I stare hypnotized to all space! My mind is flying away, and my eyes only see a transparent film, where individual spaces with a great view trying to put me in another dimension.

I awake to another dream.................................................................................................

I’m now in the passenger seat, going into the crowd, here I can see only the light out of a laptop, here’s somebody is continually repeating numbers…now…it’s light and I’m alone, I take a deep breath…I’m really awake, and I didn’t understand a word… the words… that’s the secret.

links from "the traveller"

The room

Transparency

The passenger seat

The laptop on the desk

Into a new dimension

Single letter

The words that is the secret

They exist of places and spaces

The meagre message

Neither windows nor doors

Light out of the monitor

Individual spaces with a great view

It’s light and I’m alone

I don’t understand a word

I begin to understand them

I stared hypnotized into the gleaming white

Light out of the monitor

I was speechless

Flashed in the sun

the traveller

THE TRAVELLER

1. THE TRAVELLER TURNED AROUND

The traveller turned around and for the first time I saw his eyes. Through the visual contact he could transmit codes that enabled us to communicate. The room in which we found ourselves was medium-sized with only a single desk and an office chair as furnishing. There were neither windows nor doors. There was a laptop on the desk.

"…they exist of places and spaces," was the meagre message I received from him. That was at the same time the answer to the question I was meaning to ask. The traveller smiled, flapped open the screen of the laptop and turned on the computer.

That moment there seemed to beam megatons of light out of the monitor.

I stared hypnotized into the gleaming white.

4. THE RASTER SCREEN

The raster screen was printed on transparent film and, when the right five sheets were laid upon one another, you could read the password. I only had a single raster film which I put back into my case. And then I saw Alexander (who was totally nervous).

"Come over here – you have to have a look at this! You sure haven't seen Vienna like this before," he said and unbuckled. I sat down next to him on the left side of the small passenger plane and we looked through the oval window. I was really impressed!

In front of us you could recognize the skyline of a city in which its chromed skyscrapers flashed in the sun. The city was in the middle of the ocean. Beneath us I saw steel constructions that were anchored on the seabed.

These metal frameworks were constructed by Alexander and on them there were to be apartment houses built more than one thousand meters high.

Alex whispered, "individual spaces with a great view – that is the greatest i've ever managed to do – crazy isn't it? It sure wasn't easy, but anyway…You only have to find the right places and the right spaces – that is the secret. Super, ain't it?"

I couldn't understand at all – he had such a huge project going and I was speechless. Suddenly, I felt sick and my head throbbed. The words "That is the secret" haunted my mind. I felt that I would soon own the next two raster films.

6. THE OUTER WALLS

The outer walls of the plane disappeared all at once and only the plastic floor was left. We came to a stop, stepped next to the plane's floor and Alex kicked the plastic sheet into its slot at the end of the room. He indicated to the left. "Over there's the elevator," he mumbled. We stepped into the small box and I pressed the button with a little arrow. The arrow pointed down.

8. THE ELEVATOR STOPPED

The elevator stopped in the middle of a shopping mall. Alex said goodbye and disappeared into the crowd. I turned around and entered the record store. In this shop there were records that I had been looking for for ages – even a separate "Progrock" rack. I pulled out the first cover, but instead of a record album there was a raster film on the sleeve. I knew it.

After a few minutes, every one of the record racks were checked and I was up two raster films. I put my three films on top of each other and could already recognize fragments of the password. I was incredibly happy.

11. OCEANS ROAR

Ocean's roar. I put the book aside and went onto the terrace. Patrick stood at the railing and looked at the sea. The beach was always prettiest this time of year. No tourists – only sand, wind and high breakers.

"He must be coming soon now," said Patrick and a few minutes later Erdem turned up. His long hair fluttered in the wind and I had to think about the "Three-Weather-Taft" hairspray commercial.

He waved and called, "I'm coming right up – should really be pretty wicked today." We didn't know exactly what he meant but had the feeling we would find out soon enough. I got cold and went back in.

It was about 12:30 when it got dark.

With breathtaking speed the sun had disappeared beyond the horizon. An unknown malfunction of the solar system had altered the earth's orbit. Because of that, time didn't exist as we knew before. Past and future had completely changed their meanings. I was aware that this had to do with a natural catastrophe of inconceivable extent. And that didn't make me too happy. While staring into the dark, I could hear a faint woman's voice from afar. And I overheard somebody continually repeating numbers.

13. I LOOKED AT MY WATCH BUT I SAW NO SIGNS…

I looked at my watch but couldn't discern anything. We sat in the car — the traveller was behind the wheel, I was in the passenger seat — the endless highway before us. It is pitch dark. The traveller turned on the high beam, lit a cigarette and took a deep breath.

I learn new details about the codes. With the password that revealed itself through the raster films, you could reach the home-page of a transmitter whose main purpose was to send out code-numbers.

The traveller let me know that this codes were of grate importance for me and that they would help me to acquaint myself with further stages of my own journey. How these codes were contrived and whoever ordered their transmission would always remain a secret. I am quite disappointed about this fact.

The traveller is tired. We stop in front of a small motel and take two single rooms. In my bathroom I notice that there's a recognizable pattern on the mirror. I hold my three films up to it and — voilà! — it works. Im only missing a single letter in order to decipher the password. Exhausted, I fall asleep and dream about my cat. She wakes up and tells me that she's very thirsty. I find this quite cute. She goes to the faucet, turns on the tap and gives me a look. Suddenly I get panicky. She drinks greedily and starts to change herself.

15. IN THE MORNING

In the morning everything seems to be normal. It's light and I'm alone. I try to get on by hitch-hiking. After a few minutes, a big truck stops. The driver has tattooed forearms and his name is Mario. He tells me about indians and their prophecies: "If buying and selling goods happens under the sign of the bear track, then the enslavement of human beings is not far off." The bear tracks, he explains, are bar codes. He says every bar code ends with the number 666

ends with the number 666.

That's why there are no numbers underneath the long lines. You can supposedly even find number codes on dollar bills — strangely arranged and with bad omen.

I don't understand a word.

While he speaks, I notice that I have now become a traveller myself. A heavy sorrow weighs on my soul and I'm near tears.

After Mario dropped me off, I stand in front of a tower. Right after the entrance, the elevator awaits me. I enter and push the button with arrow pointing up. On the last floor, the elevator turns into a small room without doors or windows. Places and spaces melt into a new dimension.

My laptop is on the desk and I feel secure. I turn around and I recognize a man. He's about mid-thirty, unshaven and wears thick glasses. On visual contact I notice the fifth raster in the lenses of his glasses — I now know the password.

Suddenly, I can read him like an open book. His name is Gerhard. He wants to ask me why there are no doors and how he's ever going to get out of this room. I know I just have to send him on the journey. I turn on the laptop. After Gerhard left, I get on the net and easily acquire the home-page with the help of my password. Number combinations flood me and, for the first time, I begin to understand them. A small window opened at the upper left-hand corner of my screen in which could see Gerhard and Alexander sitting in a plane. Everything' s going smoothly. it's my bedtime. I turn off the computer, go to the bedroom and lay down. Lisi's already asleep. I close my eyes and immediately start dreaming. I receive new codes — loud and clear.

Text.Gerhard Potuznik. Audio narrator.Max Goldt. Audio moods.Florian Hecker + Patrick Pulsinger. in.Potuznik Concorde+.