Figuras na Paisagem | interactive multimedia installation | 2004-2005
Parente proposes a documentary-installation based on interactivity: a joystick-type device is available to viewers to interact with the work on three levels of navigation. An urban landscape is on the first level. On activating the joystick for the second time, viewers see a series of small landscapes that open out mosaic fashion as a second level of navigation. On the third level, when the joystick is activated, the natural landscape opens out into faces. The joystick, a device resembling a mouse (but more precise), provides an multiresolution algorithmic interface to maintain the level of the image even when zooming in, when the latter dilates. Imbued with the proposal of invention using the joystick as new technology posing interactivity, this work goes beyond technology. Hybridization between images and sounds (voices) produces a relationship of temporality that depends on the pace of the user’s control of the joystick. Therefore each person will find their place in the installation. Rather than being made to a pre-existing program, the work ” happens” in relation to each viewer. This is a truly contemporary work, which moves away from modernist work: it goes beyond the technological factor to move into the field of personal imagination in pursuit of other subjectivities. The third instance of navigation, which contains faces, reminds us of the concept of “faceness” (Gilles Deleuze) as a form of subjectivity. Deleuze as philosopher sees the face as ultimately a system open to different circumstances and possibilities. For Parente, the notions of micro/macro, the perception that an image may generate other images, the continuous/discontinuous relationship, which refers to order/disorder, the poetics of fractals, the mythical Proteus, chameleon, interstice and mutation fold and unfold on different dimensions and frequencies, multiple correlations and coexistence; they are opportunities for approaching chaotic urban landscapes, showing that they comprise of many singular dislocated landscapes. What Parente suggests with the poetics of fragments is really the implosion of the work as center and totality. Express chaos without reducing it. Invite viewers to make these landscape part of their lives; “ward off the monster of totality pointing out that one image may always contain another, or refer to another image.”
Born in Sabinópolis (MG), 1957. Lives and works in Rio de Janeiro. Audiovisual and new-media artist and researcher. From 1977 through 2004, he made numerous videos, films and installations in which the experimental and conceptual dimension predominated: O Homem do Braço e o Braço do Homem, in partnership with Letícia Parente, Open Reel in 1977; Os Sonaciremas (35 mm) in 1979; Curto-circuito (35 mm) in 1980; Na Arte, Nada se Perde, Nada se Cria, Tudo se Transforma (35 mm) in 1980/82; Situações Encontradas (Betacam) in 1993; Visorama: Paisagem Carioca interactive installation in 2000, and Entre Margens video installation in 2004. From 1982 to 1987, he worked for his doctoral degree in Paris and was advised by Gilles Deleuze (Narrativa e Modernidade. Papirus, 2000). Since then, he has written several books on audiovisual and new media: Imagem-máquina. A era das tecnologias do virtual (1993), Sobre o Cinema do Simulacro (1998), O Virtual e o Hipertextual (1999), and Tramas da Rede (2004). He is currently coordinator of the Image Technology Center (N-Image) at Universidade Federal do Rio de Janeiro.