sábado, 21 de janeiro de 2012

Hugo Paquete / r.p.r_seq_error_matching / 2003

Text: Hugo Paquete 2003

Hugo Paquete / r.p.r_seq_errormatching_variabel dimensions_electronic material sound spikers_2003 Galeria Alvarez, Porto Portugal

Intermedia Installation develop in the Galeria Alvarz, Porto, Portugal

R.p.r (realidade paradoxalmente ruidosa) + (seq-error matching)
In this sound and visual research I analyzed the process of perception of a concrete situation that all the individuals are submitted. I entered a bus travelling in the city from one point to another (A to B and B to A) and I recorded a ready-made sound situation. When I analyzed the sound and I reached the conclusion that the sound of the bus travelling and all the information that existed in that moment was very noisy and abstract. To understand this, it is necessary that we dislocate this phenomenological event in space and time to be able to comprehend all its information in a complete new place without reference. One of the firmaments of this work is the transposition of one element of the bus space to a new environment where we can have a different perception from the whole elements and analyzing all its parts. The transposition of this sound to an empty room give me the possibility to analyze the perception level that I have from reality, because the sound was very noisy on the bus and when I was on the empty room situation I wasn’t able to percept it in the same way. After that moment I got the idea that I was going through reality without analyze information.
Question points: when I went on the bus I couldn’t process all the visual and sonic information, so I made a process of abstraction in my perception. I understood that I was obsolete in contact with the present reality. Maybe we have some mechanism that plum us to an abstract level when we can’t receive all the information from some specific situation. Starting from this conceptual analysis I recorded, the sound of these two bus trips, I divided the sound in two segments (right and left) and I changed the sound frequencies to an independent channel creating a transformation of sound signal. By doing this I transformed their significant object information, passing the field record without transformation on one channel and the transformed on the other one, they split in space where the sound-speakers are applied. Ex: (R=reality / L=transformed) and (L=transformed / R=reality). In the gallery space I placed the sound-speakers from the right broadcasting the real sound and in the left the manipulated sound, in the end of the bus trip the sound split. With this sound-spatial application in the gallery space I can understand my perception of the sound moving by itself from one point to another. The objective of this experiment just makes sense with one receptor because this situation was created to understand the sound in a place and the relation that the receptor have with this element in space. The persons in the installation space approach the sound-speaker of the manipulated sound and when it changes they move too. It was interesting to understand this necessity of abstraction that we perceive. With this sound installation I build a space for a subjective participative experiment. The main objectives of this experiment was to analyze the level of conscience that we take from some information, to research the additive level of abstraction that we are induced when we percept some object, situation, sound, image and the world. Other information that is presented in the gallery wall is an organogram from all the concepts of perception that I took from this analysis of the sound situations, I didn’t present this concepts in words, because it would close the interpretation of the situation and construct a different direction that I didn’t intend to translate, I left everything open this way. I just present a sentence in the end of the organogram that is a reference to the dictum between man, reality and information, exploring the borders of human perception. With this research I explore the understanding that we have from reality and the notion of information and knowledge of that reality, by exploring borders of sound and space, dimension, order, disorder, symmetry, comprehension and perception.

Materials: 27 sound speakers, 3 led panel boards, modified electronics, vinyl.

Dimension: Variable dimensions