By Ailton Wenceslau Silva Júnior, Sidney Tamai : :
What guides this work is the observation of contemporary human bodies—kinetically functional yet domesticated—at the parasitic and fictional threshold of the screen. The proposal seeks to render presence tangible by activating corporeal sensibilities, evoking the becoming of a person through embodied action.
The technical device implemented, titled UAKTI - CORPOS SONOROS (UAKTI - SONOROUS BODIES), results from the research and development of an artistic installation that operates by reproducing musical notes generated through the movement of the interactors. The aim of the system, successfully achieved on several occasions, is the realisation of an installation that merges art and technology to listen to dynamic human bodies through a logic of sound—mapping their trajectories in space and encouraging participants to comprehend the relationship between body and space. In doing so, it disrupts the condition of the passive, merely observing body before a work of art.
To this end, both physical and digital mechanisms were employed to stimulate movement and promote a feedback-based communication between interactor and artwork. The procedures rely on distance sensors distributed across the installation space, which communicate in real time with a computer. The computer responds with a range of contemporary sounds and timbres according to the interactor’s height and spatial positioning. Real-time processing enables the interactive installation to provoke, through sonic stimuli, bodily awareness and reflective experiences that explore continuities between space and time, subject and presence, object and perception.
The installation consists of a cubic space measuring three metres per side, built from metallic edges and structured with distance sensors. Within it, space is revealed through the body’s movement, which generates sonic pulses. As the body moves, it produces sounds that are controllable and editable. Thus, this is not a visual space but rather a tactile, synaesthetic articulation of sound—defined primarily by temporality. It constitutes an alternative mode of experiencing and articulating space–time relations. Each body generates its own singular sonority while occupying, dancing, or drifting within this spatial–temporal arrangement. It is, therefore, the body itself that produces its own sound through dance, rather than a body dancing in response to an external sonority.
(Grupo de Pesquisa ARTES EM TECNOLOGIAS EMERGENTES - DARG - FAAC UNESP BRASIL, Bauru)
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