Live Cinema

"PONTO, um videogame sem vencedor" (2011) é uma performance audiovisual com sons e imagens sincronizados, tocadas por um console construído e programado por HOL, e controlado por joysticks de videogame (Nintendo) retrô. O instrumento é completamente autônomo e funciona sem a necessidade de um computador, usando apenas um projetor e um sistema de som para reproduzir o seu conteúdo. Cinco pessoas da plateia são convidados a "jogar" a performance junto com o artista, acrescentando um aspecto aleatório, onde o artista já não tem o controle completo do trabalho. Este artigo passa por todo o processo de criação da performance, mostrando o conceito artístico, estética e algumas técnicas generativas usadas pelo artista para adicionar um pouco de aleatoriedade ao processo para que o show seja diferente cada vez que é realizado.

"Dot, a videogame with no winner" (2011) is an audiovisual performance with synchronized sounds and images, played by a 'game console' built and programmed by HOL, and controlled by retro videogame (Nintendo) joysticks. The instrument is completely autonomous and works without the need of a computer, using only a projector and a sound system to play its content. Five people from the audience are invited to play the performance along with the artist, adding a random aspect where the artist no longer have the complete control of the work. This paper passes through the complete process of creation of the performance, showing the artistic concept, aesthetics and some generative techniques used by the artist to add some randomness to the process so that the show is different each time it is performed.

This full-day workshop introduces to Film-Live, an innovative and immersive cinema experience, which transforms the act of watching films into a participatory, interactive and engaging event. Film-Live is a film shot and broadcasted live that ends out of the screen: spectators of Film-Live are able to personally interact with the story, entering and exploring the narration by break- ing the fourth wall. Working with both professionals and academics, partici- pants will be able to experiment with live cinematography experience and cre- ate a short Film-Live, a choral work, which will be filmed, streamed and pro- jected live. The main goal of the workshop is the investigation and discussion of possible applications of the Film-Live format, enhancing expressive and nar- rative interactions between film and reality, in order to actively engage with the audience.

Arte Generativa, Arte Viva
O procedimento generativo se caracteriza pelo uso de sistemas compostos por pelo menos uma parte autônoma com a finalidade de produzir ou alterar trabalhos artísticos que se desenvolvem ao longo do tempo. Nestes trabalhos, o artista propõe a narrativa, os limites e possibilidades que serão concretizados em tempo real pela máquina, durante uma performance, instalação ou mesmo em uma aplicação estática, congelada em frames. O interesse do artista é em parte perder-parcial ou totalmente-o controle sobre o resultado final, inserindo elementos aleatórios que podem alterar substancialmente o processo, tanto para o bem quanto para o mal, levando a resultados inesperados. Variáveis, que podem ser vinculadas a qualquer parâmetro dos elementos em cena, ampliam as possibilidades narrativas, com a capacidade de influenciar o performer pela variação das ações propostas pela máquina. Mas por que não ter o controle seria uma vantagem? Talvez o objetivo de quem trabalha com este tipo de abordagem seja demonstrar que não há um só caminho, mas múltiplos, que podem ser explorados de forma diversa a cada vez que o trabalho for executado. Isso faz com que cada performance seja única, e aconteça de forma diferente a cada apresentação. Este caráter do inesperado, da variação, da porta aberta para novos modos de fazer pode ser muito inspirador para o artista.

This book is a faithful reproduction of the Wikipedia article “VJing”, based upon the revision of July 25th 2010, last edited by 77.12.27.96. This book was produced as a physical outcome of the “wiki-sprint“, a collaborative writing workshop that was held in May 2010 in the frame of Mapping Festival, Geneva.

The book includes a prologue by Raphael DiLuzio and an introduction by Ana Carvalho. The final editing and layout took place in August 2010 during Hyperactivity, a summer lab at Centre d’art de Neuchâtel.




Aknowledgements
by Manuel Schmalstieg

This book is the outcome of a collective writing workshop that was held in Geneva between May 6th-13th 2010. Taking place in the context of Mapping Festival, an event dedicated to live audiovisual performance art, this writing sprint gathered a small but dedicated team of contributors who spent seven days discussing, expanding, translating and improving the Wikipedia article dedicated to the artistic practice ofV]ing.

There are several people without whom this project would not happen. I would like to thank in particular Justine Beaujouan and Boris Edelstein from the Mapping Festival, who shared our enthousiasm and provided financial backing, work-space, food and accomodation. The whole Mapping team has been of great assistance, notably Stef who has managed travel logistics for the foreign Wiki-Sprinters.

I must thank all the participants in the sprint for their dedication: Ana Carvalho who-for our luck-stayed a few days longer than planned due to the icelandic volcano ashes, Tom Bassford who brought some friction and controversy into the editing process, Carrie Gates who rescued the sprint with advanced sticky-notes technology, Raphael Di Luzio who managed to participate regardless the melting of the ice blocks, Carole Thibaud who did an amazing translation work (maybe another book to be published), not to forget the online contributors who did their best to synchronize across their respective time zones: Alex Berry, CHiKA and Xarene Eskandar (USA), Kenneth Feinstein (Singapore), and Elsa Vieira (Prague).

Gratitude goes also to Ilan Katin and LeCollagiste, who visited us during the sprint to share with us their personal philosophical views on VJing. Last but not least, we are indebted to the 370-something wikipedians who have worked on the previous iterations of this article since it was created in 2006.
Probably the idea of this wiki-sprint wouldn't materialize without the inspiring work of the Floss Manuals community led by Adam Hyde, who perfected the revolutionary concept of the «book-sprint» as a means of producing textual content through a collaborative process that has proved amazingly efficient and exciting.
On a more technical side, our work was facilitated by the open-source software tool Ether- Pad, a web-based collaborative real-time text editor (sadly discontinued by Google after its aquisition in December 2009) which has proved tremendously useful for our project. We thank the German Pirate Party for maintaing a free and independent EtherPad server hosted at <www.piratenpad.de>.

The editing of this book, several months after the Wiki-Sprint, was carried out in August 2010 during the Summerlab, a group residency hosted by the Centre d'Art de NeucMtel. I thank the team of CAN, Arthur De Pury, Marie Villemin and Marie Lea Zwahlen, for providing a perfect context for this editorial activity.
August 2010

Performance [entre] Cinema investiga as relações entre a Arte da Performance e o Cinema Experimental com base em experiências artísticas e reflexões teóricas. A partir da realização de três trabalhos em videoperformance, elaboramos ensaios reflexivos focando em pontos de convergência entre preocupações estéticas e poéticas que encontramos em nossos trabalhos e na produção de outros artistas e cineastas. O objetivo principal era investigar as relações que se travam entre as ações ao vivo, as suas imagens e o público. Com base no pressuposto de uma recusa à representação e enfoque no real, presente a partir da produção dos anos 1960/70, percebemos a noção de presença como chave para diversas soluções artísticas e cinematográficas. A prática artística aliada à reflexão levou à  organização dos procedimentos criativos em performance, e à proposição de quatro campos fundamentais a partir dos quais a poética de um trabalho em arte de ação se produz: espaço, tempo, ação e
elementos exteriores. O contexto no qual emergiram as primeiras experiências em performance foi descrito, mostrando as passagens e entrecruzamento entre linguagens e as frequentes incursões de artistas no cinema, evidenciando o caráter intermidiático e experimental dos campos da performance e do cinema experimental.
Palavras-chave: Arte da Performance, Cinema Experimental, Videoperformance, Arte de Ação, Cinema Expandido, Filme de Artista

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Limited Edition hardback conceived and edited by David Stout. This richly illustrated text is designed by Burning Books (Michael Sumner & Melody Sumner Carnahan), with contributing writers, David Bard-Schwarz, Jenny Filipetti, David Stout, Cory Metcalf, Jenny Vogel and a featured interview by Melody Sumner Carnahan with Steina and Woody Vasulka.

A review of the origins of video art uncovers a significant, multifaceted figure, the North American video artist Stephen Beck, who deserves acknowledgment for his contribution to real-time audiovisual production. The creative personality of Beck’s work has taken shape in various fields of artistic expression: video-sculpture, installation, music, performance, music video, videogame design and research. There are no definitive borderlines in Beck’s work; he employs video and other technologies to translate and represent his singular experience.

The beginning of the 21st century saw the emergence of neurocinematics, the nneuroscience of film, as a new interdisciplinary field that investigates the effect of free viewing of films on the spectators’ brain-activity, searching for similarities in their spatiotemporal responses. This new methodological approach has opened new opportunities for audience research and has provided us with insight on the level of control that aspects of the film language, such as the narrative and the editing, can have over the viewer’s brain states. At the same time, the proliferation of new brain-imaging techniques and technologies, such as the Brain-Computer Interfaces (BCIs), that enable the interaction, individually or collectively, of the brain of audiences and/or performers with the moving image, has led to the production of interactive videos, films and works of live cinema. A growing number of researchers and filmmakers use these interfaces, not only as creative and storytelling tools, but also as methods of conducting neuroscientific audience research in real-life settings. In this context, this paper presents a review and methodological analysis of relevant studies, following categorisations that are crucial for the interpretation of the results obtained, such as the brain-imaging techniques applied, the environment of the study, the number, type and role of the participants (audience versus performers), and the film form among others. The paper also focuses on how the use of BCIs is changing previous conventions, including discourses of authorship/co-authorship, mise-en-scène and editing, and the reinvention of the film language as embodiment of the audience’s cognitive state. Lastly, a way forward is proposed by looking at the potential of live brain-computer cinema as a new film form that combines live cinema, neurocinematics and the use of BCIs for studying and enabling collective audience interactions in a cinema theatre environment.

EN:
The main topic of this research is the artistic creation through visual performance today. Within this field, the gesture as a way to control real-time images with digital gesture recognition technology is specifically addressed. As a side topic, we discuss the analogical practice as a source of organic esthetic, opposed to the mechanical esthetic of the digital technology.

ES:
El tema principal de esta investigación es la creación artística dentro de la performance visual hoy. En este campo focalizamos el estudio en el gesto como forma de control de la imágene en tiempo real, con tecnología digital del reconocimiento del gesto. Como tema secundario discutimos la práctica artística analógica como origen de la estética orgánica, y su oposición a la estética mecánica de la tecnología digital.

INTRODUCCIÓN:
Se considera performance a la accione artística que implica el cuerpo y solo es considerada como tal durante su ejecución. Llamamos específicamente performance visual a aquella en que la imagen proyectada tiene un papel principal. Al hablar de performance visual, es inevitable que vengan a la mente conceptos como live cinema, concierto audiovisual, directo, proyección, vjing, nuevas tecnologías, actuación o improvisación, entre muchas otras. Como comienzo tratamos de definir la performance visual acotando su campo de aplicación, poniéndola en relación con otras formas de creación hermanadas, y concretar sus particularidades. Para ello es imprescindible hacer una revisión crítica de la situación actual de la performance en las artes visuales, que tradicionalmente se asocia con eventos transgresores y rituales, para traerla hasta su significado actual. A día de hoy, la performance es estudiada desde los más diversos campos, teniendo como denominador común su vinculación con la naturaleza transitiva de la acción desarrollada aquí y ahora, lo que amplía en gran medida su aplicación en el arte respecto a su concepción más tradicional.

La tecnología, especialmente aquella digital formalizada en el ordenador, cumple un papel clave en la historia de la performance visual y por tanto ocupa el lugar principal en este estudio. La tecnología digital, y por extensión la programación, la síntesis y el procesado de imagen, se sitúa en el origen de un desnaturalización y homogeneidad que hemos detectado mayoritariamente en la estética de la performance visual. Esta tendencia, que denominamos estética mecánica, encuentra un firme opositor en aquellos performers que rechazan el uso de tecnología digital, recuperando formas de creación en directo más tradicionales, mediante la manipulación directa de objetos y materiales. Hemos interpretado esta vuelta a la tecnología pre-digital como un indicador: los performers están pidiendo sistemas de control que les permita una mayor expresividad gestual, y lograr así una estética orgánica.

Esta vuelta a las formas de hacer más tradicionales coincide con la popularización de nuevos dispositivos de control mediante la captación y digitalización del gesto, como Kinect o Leap Motion. Es por ello que, una vez detectada la carencia de una verdadera expresividad y naturalidad en los sistemas de control empleados enperformance visual —que son principalmente tangibles-, proponemos cubrir la necesidad mediante el desarrollo de interfaces propias para el control gestual. El DIY es parte histórica de la performance visual, por lo que nuestra voluntad es la de facilitar una continuidad empleando los estudios y técnicas ya existentes. Pero dadas las peculiaridades del control gestual y su escasez de referencias, el diseño de estas interfaces gestuales requiere un modelo de diseño propio. Éste modelo estará basado en los principios y técnicas de diseño de interacción general, a las que incorporamos soluciones para las particularidades de la performance visual, que extraeremos del diseño de interfaces tangibles específicos, donde las referencias existentes son abundantes.

Live VJ and interactive Public Projection/ Installations are currently propagating themselves like rabbits throughout many corners of the globe. This presentation looks at some examples of emerging trends, tropes and innovations. In greater detail, with actual live examples the author will outline some of  his own experiments and experiences with various models and contexts of live cinema from installations to live performance in cinema contexts. The playful and somewhat ridiculous question “Is live cinema dead?” builds upon associations with Peter Greenaway’s famous assertion that cinema died in the hands of  the remote control. What is the impact on live cinema of the abundant dispersal of many forms of screens, networked and interactive audiovisual devices? The question also wrestles with what is added or lost, what is achieved, by constructing a film that contains some dynamic, transient, almost ephemeral characteristics that can change at each performance? Does this work best with abstract or narrative styles? Is this a perfect medium to highlight connections between, figuration and abstraction, poetic and factual

Crisp, Virginia (2017) ‘Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attending an 'Alternative' Cinema Space’ In Sarah Atkinson and Helen Kennedy, eds. Live Cinema: Cultures, Economies, Aesthetics London: Bloomsbury, pp. 153 – 166.

Nos interesa comprender que la implantación del código o figura de significación resulta del uso, de la aceptación de la convención. El sonido aporta un carácter espacial, rítmico, emocional y expresivo a la banda de imágenes cuando sobrepasa su mero subrayado dramático. En la construcción del enunciado audiovisual a tiempo real, la implicación fílmica puede relacionar cualquier elemento visual con un
ritmo musical concreto, un movimiento de cámara con una melodía, un color con una nota… y tal vez provocar relaciones de sinestesia en algunos individuos. Se produce
lo que Christian Metz designa como “figuras de continuidad”. Estas implicaciones comportan un carácter simbólico con el que se logra un incremento del la lógica y el sentido discursivo. En consecuencia podríamos admitir un tipo de convenciones o códigos que se repiten en la fenomenología del VJing o Live Cinema, y que devienen fundamentalmente de las interpelaciones realizadas a tiempo real entre banda de imagen y banda de sonido.

As in the broader cultural sector, COVID-19 has created unprecedented challenges for cinema exhibitors in the UK and worldwide. Venues have been forced to close for months, operate with substantial uncertainty, or re-open with reduced capacity. Still, their position remains precarious and the challenges to the sustainability of the sector are ongoing: changing restrictions and associated increased costs, reduction in production and distribution pipelines. The British Film Institute highlighted that the pandemic poses an existential threat, especially to independent exhibitors and those operating in remote or deprived areas. Thus, COVID-19 has also highlighted existing inequalities, the digital divide, and the need to expand the audiences’ diversity. Meanwhile, in sectoral events, panels have reflected on how exhibitors and audiences have become more accustomed to accessing media experiences online, and how this new digital literacy will support cinemas’ efforts to attract cinemagoers in their reopening. Prior to COVID-19, the use of interaction design for new cinematic experiences had attracted the interest of festivals, filmmakers and researchers. In this position paper, we argue that interaction design and technologies can help independent cinemas to engage and galvanise new audiences to patronise COVID-safe venues. From low-end online platforms to high-end immersive experiences, new technologies are transforming connectivity across society, and have the potential to support access for D/deaf, neurodivergent, and disabled audiences, but adoption by exhibitors is so far limited. We outline the research needs and priorities in this field. These include identifying facilitators and obstacles to industry adoption of interactive forms, and mapping experiences and attitudes across the sector. Together with directions for immediate practical solutions, it is crucial to gather critical data for future research use, in order to pave the way for long-term solutions and design innovation, so that the sector can build resilience, recover and reach underserved audiences.

Resumo: Este trabalho tem como objetivo apresentar e refletir sobre aspectos do funcionamento da Orquestra de Laptop SONatório (OLapSo) na construção sonora de live cinema abordando sua organização, as ferramentas utilizadas, seu processo criativo e seus desafios. Temos como referenciais Cecília Salles (2008), Mia Makela (2006), Dan Trueman (2007) e Virgínia Flôres (2013). Concluímos que o ambiente do live cinema proporciona a OLapSo uma independência em obter um objeto acabado, sendo mais importante a experiência vivida da construção sonoro-visual, efêmera e descontínua.

Abstract: This paper aims to present and reflect on the Orquestra de Laptop SONatório (OLapSo) in the construction of live cinema addressing its organization, the tools used, its creative process and its challenges. We have as references Cecília Salles (2008), Mia Makela (2006), Dan Trueman (2007) and Virgínia Flôres (2013). We conclude that the live cinema environment gives OLapSo an independence in obtaining a finished object, more importantly the lived experience ephemeral and discontinuous of the sound-visual construction.

VJing, the practice of mixing video images live during a dance party, is a relatively new cultural form, which shows affinities with other contemporary media forms - film, video, computer games, mediatised theatre and the media arts - but appears to have a distinctive identity. Dancing with images is an experience that has its own peculiar meaning and value; it requires specific knowledge to be understood and the right "mood" to be enjoyed. It is difficult for the outsider to locate this practice in a cultural context (it hovers in the no-man’s land between art and entertainment), and to catch the meaning of moving images that do not clearly represent or narrate something and are perceived in motion.
VJing does not fit completely with traditional categorisations in some of the most important fields of cultural analysis. Live visuals appear in very diverse forms that may fulfil different functions. They can be challenging for our structures of perception, trigger deep emotional reactions, or function as a superficial vortex of eye prickles; they can transmit ideological or political messages or just pimp the club with a cool look. Those forms are also differently related with the other elements that play a role in the production and reception of a VJ set: the subcultural context, which clearly influences the choice of the language and content of the visuals and their reception (there are mixing styles, techniques and contents that fit better in certain scenes or clubs than others), and the technological tools.
What is the general value of VJing as a cultural practice then? And how does the video performance transmit ideas and emotions, norms and values within its specific subcultural field? Those two questions appeared to be strictly related. In this study, the relationship between the general social and cultural processes that characterise clubbing and VJing and the semiotic processes within a single performance is analysed from a broad philosophical perspective.
Drawing on Kattenbelt and Habermas I designed a "triadic approach" to VJing that distinguishes between three different orientations and types of communication both at the general level of the cultural field and at the level of the single performance. There is a subjective perspective where the images function as aesthetic objects, addressing the cognitive and affective perceptions of the clubbers; a normative perspective where the mix is understood in the frame of the norms and values of the cultural context - a means to conform to or to change the visual styles of the scene; an objective perspective that highlights the logical aspects of the VJ set, its adaptation to the party structures and the music, and its argumentative grid when it is used to take part in the cultural discourses of the dance community and to express ideas and opinions. The three orientations are "moving principles" that activate and steer processes and arrangements (dispositifs), between the concrete elements - technologies, texts and participatory behaviours - that constitute the practice of VJing.

Com a revolução tecnológica surgem milhões de possibilidades para o audiovisual. Cada realizador pode criar seu modo de fazer audiovisual. O cinema já nasce como um experimento e se mantém assim até hoje, investigando novas ferramentas a partir das tecnologias de nosso tempo. Neste trabalho , apresentamos uma das experiências do Laboratóri de Pesquisa, Prática e Experimentação Sonora – Sonatório, projeto de extensão da Universidade Federal do Recôncavo da Bahia, na cidade de Cachoeira-BA. O Sonatório vai propor um corpo-tela/corpo-sonoro. Nesses corpos são projetados samples visuais por meio da técnica de video mapping􏰥􏰝􏰜􏰘􏰋􏰊􏰈􏰗􏰒􏰒􏰝􏰚􏰦. O som é realizado em tempo real pelos corpos-telas a partir da linguagem de sinais soundpainting regida por um painter (compositor-regente).

Demiurges of the Light, traces a cartography (as media archaeology), of audiovisual expressions and more precisely, expanded cinema, researching on crucial moments in which cultural forms, have explored the notions of projection, multimedia and live event, (and with the appearance of television and digital media), the concept of real time narration. The emphasis is oriented towards the generation, control and synchronization of images and sound, and the experiences and objects that these mediums create, considering live events, live. Starting from Wayang Kulit and ending in Live Visuals, this timeline spans over 5.000 years where expressions like baroque theater, 19th century opera, magic and illusionism shows, visual music experiments developed in the 20’s, 60’s liquid shows, 70’s art rock movement, contemporary VJ Culture, Expanded Cinema from Abel Gance to Peter Greenaway from The Light Surgeons to Monumental Projections, draw a line on how the moving image transcends the traditional screen and projects itself into 3 dimensional space, in a journey that has taken its course from the museum to public spaces.

Once digitization had been standardized in the process of audiovisual creation , there has been an improvement over the last decades in the efficiency of storage, coding and transfer systems, an integration of editing and com-positing procedures, an increased potential for real-time image and sound manipulation and an increase in the mediation of software and its interface in creative processes. On the basis of both a representative work-Chelovek S Kino-Apparatom (Man with a Movie Camera, Dziga Vertov, 1929) − and the considerations of Lev Manovich, one of the leading theorists on the subject , this essay is intended as a starting point for addressing issues related to the mutations produced in the traditional concept of film editing as a consequence of the digitization process described above. For this purpose, the authors summarize the results of practical research based on the real-time filmic reinterpretation of the film's editing.

Neste trabalho, analiso os espaço da performance audiovisual que se relacionam a uma montagem sonora em tempo real e a uma montagem visual em tempo diferido, onde a imagem funciona como uma partitura gráfica para a construção sonora do filme. Nosso objeto de estudo é o filme Medo do Escuro (Ivo Lopes Araújo, 2014) no qual sua montagem sonora é realizada em tempo real. Tenho como embasamento teórico Makela (2006), Chion (2012) e Flôres (2013).

The fields of neural prosthetic technologies and Brain-Computer Interfaces (BCIs) have witnessed in the past 15 years an unprecedented development, bringing together theories and methods from different scientific fields, digital media, and the arts. More in particular, artists have been amongst the pioneers of the design of relevant applications since their emergence in the 1960s, pushing the boundaries of applications in real-life contexts. With the new research, advancements, and since 2007, the new low-cost commercial-grade wireless devices, there is a new increasing number of computer games, interactive installations, and performances that involve the use of these interfaces, combining scientific, and creative methodologies. The vast majority of these works use the brain-activity of a single participant. However, earlier, as well as recent examples, involve the simultaneous interaction of more than one participants or performers with the use of Electroencephalography (EEG)-based multi-brain BCIs. In this frame, we discuss and evaluate “Enheduanna—A Manifesto of Falling,” a live brain-computer cinema performance that enables for the first time the simultaneous real-time multi-brain interaction of more than two participants, including a performer and members of the audience, using a passive EEG-based BCI system in the context of a mixed-media performance. The performance was realised as a neuroscientific study conducted in a real-life setting. The raw EEG data of seven participants, one performer and two different members of the audience for each performance, were simultaneously recorded during three live events. The results reveal that the majority of the participants were able to successfully identify whether their brain-activity was interacting with the live video projections or not. A correlation has been found between their answers to the questionnaires, the elements of the performance that they identified as most special, and the audience's indicators of attention and emotional engagement. Also, the results obtained from the performer's data analysis are consistent with the recall of working memory representations and the increase of cognitive load. Thus, these results prove the efficiency of the interaction design, as well as the importance of the directing strategy, dramaturgy and narrative structure on the audience's perception, cognitive state, and engagement.

Nossa proposição busca levar em consideração a realização de performances e oficinas de experimentação de composição sonora do "SONatório", Laboratório de Pesquisa, Prática, Experimentação Sonora da UFRB, no âmbito do 1o festival Mimoso de Cinema, realizado em maio de 2018, na cidade de Luis Eduardo Magalhães, que completa 18 anos, no oeste baiano. Sendo uma cidade que surge em meio à cultura do agronegócio, a produção do evento possibilitou rasgar o senso comum das estruturas culturais do espaço, fazendo lampejar (DIDI-HUBERMANN, 2011) imagens e sons políticos de outras realidades por lá. O Sonatório, ao abrir o festival com uma apresentação de Live Cinema, na qual diversas imagens e sons produziam sentidos e potências significantes diferentes do cinema mainstream, ainda ampliou as inovações das apreciações estéticas possíveis na localidade com uma oficina de criação com soundpainting e a realização da performance Redes, na qual um número reduzido de pessoas era convidado à entrar em uma sala ambientada com sons produzidos ao vivo, relacionando a realidade das redes sociais digitais às potências de manifestação de insatisfação políticas que vem sendo realizadas. As escutas (NANCY, 2002) as quais a população foram colocadas em contato ressoaram a expansão da compreensão dos suportes, materialidades e das mediações das experiências estéticas lá experimentadas, também no processo criativo dos alunos (SALLES, 2006). Interessa-nos relatar e inferir uma problematização das narrativas outras (BENJAMIN, 1940) que passaram a compor a realidade dos jovens que ali estiveram em relação, tanto os da cidade, quanto os alunos da UFRB.

It is tempting to view the rise of event-led cinema as a symptom of shifting audience preferences – the inevitable result of cinemagoers increasingly seeking out 'immersive', 'participatory' and 'experiential' film screenings. The research presented within this particular article aimed to explore the appeal of such screenings by focusing on audiences at the Prince Charles Cinema (PCC) in London – a venue that is widely known for hosting sing-alongs, quote-alongs, and other participatory events. Our results, however, were surprising. Respondents to our questionnaire readily subscribed to a form of cinephilia that embraces a wide variety of tastes, but largely rejects participatory aspects of event-led cinema in favour of what they deemed to be a more authentic cinematic experience. Audiences repeatedly emphasised the superiority of the silent, reverential film screening, and many felt that the PCC's greatest quality was the way in which it reminded them of how cinemas used to be, not what they might one day become. Ultimately, the article demonstrates that cinematic events are by no means the only option available to audiences who crave alternatives to 'mainstream' cinemas. We call for a reconsideration of the immersive and experiential dimensions of traditional cinemagoing, and a greater emphasis on the viewing conditions that facilitate an affective bond between audience and film. To us, the search for alternative cinema experiences seems to be more about the desire for cinema to get better at what it already does, not for it to change into something entirely different.

Por meio da análise do filme Ressaca, de Bruno Vianna, este trabalho examina como a narrativa cinematográfica pode ser atualizada através da performance. Tal filme situa-se dentro de práticas audiovisuais emergentes, que expandem o dispositivo cinematográfico. Esta análise busca identificar como o cinema instituiu-se como uma forma hegemônica, como essa forma foi expandida, historicamente, através de obras e práticas específicas, até culminar em uma espécie de cinema performado. Também busca investigar o que há de performático em Ressaca, compreender como a performance opera, nesse filme, de modo a fazer a narrativa variar. Para esses propósitos, foram analisados os elementos formais e performáticos do filme em duas apresentações específicas dessa obra.

Through the analysis of the movie Hangover, from Bruno Vianna, this work examines how the film narrative can be renewed through the performance. This film is situated within emerging audiovisual practices that expand the cinematographical device. This analysis seeks to identify how the cinema has established itself as a hegemonic form, how this form has been expanded, historically, through works and specific practices, culminating in a kind of film performed. It also investigates what is performative in Hangover and tries to understand how the performance acts, in this film, in a way to make the narrative vary. For these purposes, were analyzed the formal and performative elements of the film in two specifics presentations of that work.

"Moda Vestra" is a collective of artists from the Algarve, who perform visuals and music in real-time. They play classical instruments like accordion and bass guitar, and use computer softwares and interfaces for the electronic music and live visuals. We define this language as Live Cinema. Live because both musicians and visual artist are performing in real-time, and cinema because there is a story to tell the audience, using images in movement with sound. This article has two main objectives. First is to draw a state of the art related to this phenomenon known as Live Cinema, that crosses with genres such as audiovisual performance and concepts such as real-time. The second aims to analyse the concept, the morphology and the work's methodology of "Moda Vestra collective. Which also became a phenomenon because of their alternative way of telling stories from a stage. I. Introdução Moda Vestra-moda de "canção" e de "atual", "vestra" que significa "vossa" em Latim-é um coletivo de três artistas naturais do Algarve. Um acordeonista (João Frade), um produtor de música eletrónica (Rafael Correia), e uma cineasta (Ana Perfeito). Em 2018, os três foram convidados pela Rede Azul (rede de teatros do Algarve) 1 para criar uma performance audiovisual sobre as identidades Algarvias, e apresentá-la em 11 salas da região. O objetivo era: explorar ideias do que é o Algarve e do que já foi; despertar consciências para problemas atuais da região. Usando uma ótica artística experimental, misturando artefactos tradicionais com meios e técnicas contemporâneas e digitais. Para a interpretação musical nesta digressão, foram convidados mais dois músicos: Paulo Machado (nas teclas, acordeão, baixo), e Emanuel Marçal (no acordeão). Ficando assim, cinco elementos em palco. Por ser um espetáculo ao vivo, os criativos acharam interessante usar o vídeo de forma semelhante à música. Em primeiro lugar, decidiu-se que o vídeo é projetado a partir do palco, considerando também a cineasta uma das performers 2-ao contrário de outro tipo de performances audiovisuais em que a projeção é feita a partir da régie (e.g. os cineconcertos, que serão abordados mais à frente neste artigo). Em segundo lugar, enquanto os músicos reproduzem samples 3 e tocam instrumentos musicais, a cineasta está também a reproduzir videoclips em tempo real (i.e. real-time). Criando assim, um espetáculo de cinema ao vivo (i.e. live cinema). O trabalho começou com uma pesquisa de imagens e sons sobre o Algarve. As temáticas acordadas para este fim foram: eventos culturais e religiosos; paisagens degradadas ou em bom estado; natureza da região. As fontes de recolha foram: "filmes de arquivo" (archive footage) 4 ; filmagens atuais da cineasta e de outros colaboradores. Posteriormente, foram criadas várias faixas musicais com acordeão, música eletrónica, samples de vozes e sons sobre tradições e natureza (e.g. pragas de Alvor e som de pássaros da região). No vídeo, foram utilizados clips que remetiam para ambientes antigos (e.g. excertos do carnaval de Vila Real de Santo António de 1973) outros clips remetiam para o Algarve contemporâneo (e.g. viagem contínua pela estrada Nacional 125), e ainda outros que remetiam para a natureza (e.g. filmagens subaquáticas na costa). No primeiro espetáculo foram tocadas as faixas musicais, e misturados os videoclips (ver figura 1). O resultado foi positivo. No entanto, a mistura de vídeos em tempo real, coloca problemas que a música não coloca. A música consegue transmitir mensagens, maioritariamente, de uma forma sensorial, i.e., a batida rítmica e sincronização entre instrumentos e samples, são os fatores chave para a música comunicar com o espetador. No vídeo não bastam esses dois. É necessário também que os conteúdos mostrados nas imagens, tenham ligações conceptuais. Aqui surge um desafio neste tipo de linguagem: conseguir construir uma narrativa ao mesmo tempo que se misturam os clips visuais ao vivo. Mais à frente, será explicada a solução que os artistas Moda Vestra encontraram para superar esta dificuldade. O artigo está dividido em duas partes: a primeira pretende apresentar um estado de arte relativo ao live cinema, referindo cronologicamente, trabalhos relevantes de outros autores que da mesma forma, tentaram contar histórias misturando vídeo e música em tempo real; a segunda parte, descreve em detalhe o conceito de Moda Vestra, assim como o processo de trabalho e metodologia utilizada durante os 11 espetáculos. II. Estado de arte O termo live cinema pode ser associado à era dos "filmes mudos" (silent films)-de 1890 a finais de 1920-que marcou o início do cinema. Nesta altura, ainda não existiam tecnologias para sincronizar som com imagens, portanto, os filmes mudos traziam apenas os visuais com textos embutidos. A sua visualização acontecia em auditórios e era acompanhada por

The majority of the applications of Brain-Computer Interfaces (BCIs) in the arts and entertainment use the brain activity of a single participant, although an increasing number involve the interaction of more than one user.
This dissertation investigates the design and implementation of multi-brain electroencephalography (EEG)–based BCIs in the context of live cinema and mixed-media performances. The aim is to identify the interdisciplinary challenges involved and to develop an effective model for the simultaneous multi-brain interactions of performers and audiences.
By combining scientific and practice-based methodologies, a new passive multi-brain EEG-based BCI system was developed and implemented in 'Enheduanna—A Manifesto of Falling', the first demonstration of a live brain–computer cinema performance (CCA Glasgow, July 2015). This new work enabled the simultaneous, real-time interaction—with the use of EEG-based BCIs—of more than two participants, including both a performer and members of the audience, in the context of a mixed-media performance. The analysis of the participants’ data reveals a correlation between the elements of the performance that they identified as most special and their indicators of attention and emotional engagement, proving the efficiency of the interaction design, the importance of the directing strategy, dramaturgy and narrative structure. Accordingly, the original contributions of the research include the new passive multi-brain EEG-based BCI system, the live braincomputer cinema performance, as a novel format of performative work and as a complete combination of creative and scientific solutions.

Transformation of reality-transporting audiences from one reality to another-is a specialty of the artist. Through the regenerative properties of creative energy, we have the power to reshape our world. Take Day For Night performing artists Death Grips, a band that says it converts raw negativity into their music. The world provides no shortage of " raw negativity " for Death Grips to reshape, and the result is not what anybody would call delicate or dainty-this is not your grandma's harpsichord overture-but it sure beats the raw headlines in the news these days. DFN artist Prince Rama perform a similar conversion by co-opting Monster Energy drink for their own alchemical purpose of " tapping into our inner demons and releasing them through a transformative sonic process. " Likewise, visual artist Zach Leiberman builds tools that offer spaces of creative play and discovery, and embody the potential for social evolution. Audiences who play with Liberman's art can let their own creative juices flow in a space where they can often interact others and even form new friendships. Transforming day to night is a traditional challenge of the filmmaking arts. " Day for night " is a cinematic technique by which a scene that appears as nighttime on screen was actually shot during the day. In-camera and post production processes, both low and high tech, are used to bypass the complications presented by nighttime shooting. A conjuring trick laid on top of the magic of cinema moves the clock ahead half a day. Scale/Immersion Movies are magic because they trick our mind into believing we are embedded inside of that cinematic space. We exist inside of the unfolding picture story, and our relationship with actual physical space is temporarily suspended. Just as we learn verbal language — vocabulary, syntax, tenses and conjugations — so, likewise, we absorb the special language of the movies. If we travelled back in time 200 years to show our ancestors a modern day movie, they would be confused. We, on the other hand, understand that an

... 1 There are a number of online journals with issues related to VJing and live media. ... The intense audio-visual bombardment of a modern rock concert or club environment with light shows, bands, DJs and VJs, or the ... Start making sense: Live audio-visual media performance ...

This paper accompanies four films which use CCTV to create Live Cinema performances which challenge both the narrative conventions of cinema and the expectations that we have of CCTV images. The paper details the ways in which this occurs and concludes with some lessons for future CCTV film-making and performance. The films can be viewed at: http://paoleb-ccvv.blogspot.com/

Desde una lectura diacrónica de las posturas sobre el arte escénico y medial entre Theodor Adorno y Walter Benjamin, existe una inherente relación con algunas prácticas contemporáneas en el arte, específicamente el performance audiovisual. En esta modalidad performativa del dispositivo tecnológico cinematográfico simultáneamente es puesto en escena, concebido, organizado y reproducido para desarrollar un evento únivo con los elementos que exclusivamente sugieren un actor creativo in situ. Un tipo de cine que problematiza el concepto de espacialización empleando recursos tecnológicos para la generación de actos audiovisuales que permiten el acto en vivo por parte de los realizadores y la interacción de los espectadores.