CAC4 – Hiperorgânicos: COGNOISE

Anatomia das Paixoes

PERFORMATIC EXHIBIT PROPOSAL CAC 4
COGNOISE: FRACTAL ARTMOVEMENT
Danilo Andrade Moveo 1,2, José Otávio Pompeu e Silva 1, Eufrasio Prates 3,Maira Monteiro
Fróes 1,2
1. Laboratório de Neuroepistemologia Experimental Anatomia das Paixões, Instituto Tercio
Pacitti de Aplicações e Pesquisas Computacionais CCMN/UFRJ, 2. Programa de História das
Ciências e das Técnicas e Epistemologia CCMN/UFRJ, 3. Laboratório de Dança e Tecnologia, IFB
ABSTRACT
This proposal emerges fromour hypothesis that extractable physical attributes in artist/live
artwork conjoints present a spatial- and time-based dynamic fractal order. To address it in
science we have conceived an integrative set up in which input-output and iterative relations
established between artist, artwork, and digital devices feed a transducer ofmusic (preprogrammed)
and image (webcam), the Holofractal Transducer of Music & Image (HTMI) – a
Max/MSP/Jitter patch. Three sensorial outputs are considered: the abstract stencil painting and
digital imagetic and sound correlates of picture and painting. The HTMI software is designed to
calculate light distribution differences between sequential webcam captured frames. A
concomitant series of digital images is generated, each one corresponding to 2Dmapping of
movement driven light dynamics obtained after cancellation of constant light signals in the
original captured webcamframe, and displayed into a module of the HTMI itself. Also, 2D light
dynamics is processed by fractal iterations and feeds HTMI generative musical modules.
Sounds integrate the holofractal aesthetical transducts predicted in HTMI through a coupled
ADC-to-midi converter, leading to real time generative music. This fractal modelling system is
provided with properties of unpredictability inscribed in the algorhythmic rules. Both
performaticmotor and creative forms are noisy in amultimodal basis, as implicit in the abstract
character of the artwork, in the apparent spontaneity of the artist’s body movements, as well
as in the associated generative holofractal music, adding up to the reverberating and reentrant
musical patterning provided by the Holofractal Transducer. COGNOISE intends to bring
participants into a complex synesthetic experience which we expect will drive a re-evaluation
of the noise-pattern tension, leading us to consider elusive and unpredictable orders as intrinsic
to our creative expressions, from fine arts to computational technologies.
ABOUT THE ARTISTS
The Holofractal Transducer of Music & Image (HTMI) system is a Max/MSP/Jitter 5 patch
developed by the musician Eufrasio Prates, for interactive music, dance and performance art
experiments in order to emphasize new paradigmatic concepts – such as holonomy and fractality –
by means of transducing webcam captured movements or any accelerometer device (smartphone,
wiimote, tablet, etc.) into live synthesized and granulated sounds and live processed and
transformed images. Beyond its richness as a solo performance instrument, the HTMI offers
countless possibilities for ensemble and orchestral use, as a music digital complex instrument with
network interaction capabilities, especially under experimental approaches.
The performer, Danilo Moveo, is an abstract expressionist artist. His creative process is an
intermittent alteration betweenmental ideary and the object, culminating in a state of
automatism in which he uses the rhythmof themusic as a point of concentration. Body
movement gains a sort of diffuse patterning, powered at the experience of the artist by
embodied cognition, or enaction (Alva Noe 2006). In his words “environmental, temporal and
emotional stimuli evoke a kind of mental cryptography in which I select the inks to be used on
the canvas at the precisemoment”. The inks are prepared in empty ‘ketchup’ containers and
squeezed on white canvas. Artist agility varies over the course of themusic, and this tuning is
sensed by him as a compromise between mental computation of movement coordination,
which resonates to visual nascent inputs from the peinture itself.

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