quinta-feira, 24 de março de 2011

Questionario


Questionário

Projecto - O Susto




Dados


Sexo: Masculino         Feminino 
Idade:____

Tens Medo, quais? (se vários inúmera os (1- o mais forte))

   Estar sozinho/a
   Estar sozinho/a em locais escuros
   Estar sozinho/a em locais pequenos
   De ti próprio
   Pensar que alguém te está a observar
   Algum trauma de infância
   _______________________________________________________________________


Que tipo de experiencias tiveste com o medo






Achas que consegues ultrapassar esse/s medo/s

   Sim
   Nao

Como?





Obrigado

Hugo Pombo

O medo e o ser humano


Todo o humano tem medo de algo, que por vezes esse medo é psicológico e não real. Por outro lado o medo é m meio que o nosso organismo tem para reagir em relação ao perigo.
O medo é provocado por sentimentos de perda, ou ganho algo maligno, a desconfiança de algo errado, de não conseguir concretizar os objectivos propostos, tudo isto faz com que o ser humano fique incapacitado de realizar as tarefas que são concebidas.  
Normalmente casos de medo têm a ver com as reacções de timidez (temos medo que o outro ser reage de maneira diferente ao esperado), fobia (medo de estar em locais escuros, apertados, altos…) que por vezes causam o pânico.
Ele faz com que as nossas capacidades de compreender o que nos está a envolver, e é como se nos levasse para outra realidade de pessimismo, diminuindo assim as nossas competências que nos levam ao insucesso.
As crises de ansiedade são provocadas pelo medo, mas é um medo que é antecipado, faz com que o ser humano reage a algo que ainda não aconteceu, por exemplo estar há espera de receber algo só daqui a algumas horas, e antecipadamente tem medo do que espera desse momento.
Os medos são adquiridos ao longo de uma vida, uns adquirem muitos medos, outros nem por isso.
Assim sendo os medos são nos “dados” por falta de confiança, segurança, capacidade para atingir um objectivo ou meta a cumprir. E assim por vezes não confiamos naquilo que dá certo.
Por isso é que o medo é um dos principais meios para atingir o fracasso, se não tivermos confiança em nos próprios, quem terá, claro que ninguém, pois cada um ser humano é único, e cada um tem os seus medos e esses medos devem ser ultrapassados, se não acreditar em si mesmo mais ninguém acredita, e a partir dai começa a cair em cada livre a atitude, responsabilidade, confiança, segurança, a vontade de concretizar, entre muitas outras coisas.
Como o Ralph Waldo Elerson disse “Façam aquilo que receiam e a morte do medo é certa.”
É preciso ter pensamento positivo para que se possa dominar os receios do medo, é preciso enfrenta-lo de frente, se se tem medo de andar de bicicleta, então é preciso treinar até conseguir andar, no fim de tudo esse medo já deixou de existir.
E assim se pode concluir que o medo pode aparecer, mas da mesma forma ele pode desaparecer, basta ter vontade própria para o fazer da melhor forma para que se concretize.

terça-feira, 15 de março de 2011

filmes relacionados com o medo/susto (terror)

http://www.filmes-de-terror.com/the-grudge-2-a-maldicao-2/
http://www.filmes-de-terror.com/historia-de-duas-irmas-janghwa-hongryeon/
http://www.filmes-de-terror.com/silencio-mortal-dead-silence/
http://www.filmes-de-terror.com/cadaveres-unrest/
http://www.filmes-de-terror.com/kilometro-31/
http://www.filmes-de-terror.com/mirrors/
http://www.filmes-de-terror.com/coisa-ruim/
http://www.filmes-de-terror.com/house/
http://www.filmes-de-terror.com/may/
http://www.filmes-de-terror.com/hannibal-a-origem-do-mal-hannibal-rising/
http://www.filmes-de-terror.com/o-quarto-do-bebe-la-habitacion-del-nino/
http://www.filmes-de-terror.com/one-missed-call/
http://www.filmes-de-terror.com/quem-tem-medo-do-papao-2-boogeyman-2/
http://www.filmes-de-terror.com/amusement/

quarta-feira, 9 de março de 2011

Lights contacts

Lights contacts
Interactive sound and light installation with body and skin from public
scenocosme : Gregory Lasserre & Anais met den Ancxt



An interactive sound and light installation with body and skin from public

"Lights Contacts" is an interactive artwork perceptible by two people or more. This sensory installation is tactile, luminous and sonorous. It proposes an original and interactive staging among spectators’ bodies. They are transformed into real sonorous human instruments. In a poetic way, we invite the spectator to question the perception of the other one.

This artwork is composed by a small interactive shiny ball. A first person is invited to put his hand on the shiny ball. In contact with this object, his body gets sensitive and reactive to other living bodies. If the person remains alone, nothing happens, there is no reaction. He must invite another person to touch him. They must touch each other’s skin. For example, they can shake hands, caress or kiss each other. Each touch generates variable sounds. The various sonorous vibrations change with the proximity of contacts and spectators.

We also present the installation with a structure for lights connected to spots lights RVB inside. Then each contacts between the people interact with the color and the intensivity of the lights.

With the artwork «Lights contacts» we want to design each presentation and light scenography according to the specificity and the size of the exhibition space.

«Lights Contacts» implicates spectators, and provokes intimate or funny situations. Couples kiss or make sonorous caress to each other, or unknown people touch their hands timidly, or many people play together... Many kind of reactions are possible. According to cultural areas, the contact with other people is different.

In this artwork, the energetic clouds of bodies (electrostatic energy) are musically felt. We propose a sensory experience with the other person’s body in order to animate what we cannot detect. In this situation, energetic contacts with other human bodies become sonorous. We want to provoke, to overturn degrees of proximity that we use in our relationships with known or unknown people.


Coproduction :
Centre des Arts d’Enghien-les-Bains, Scène conventionnée pour les écritures numériques : www.cda95.fr
The installation «Lights Contacts» has received the Award "visual arts and new technologies” for the 5th edition of the Bains numériques international digital arts festival organized by the centre des arts of Enghien-les-Bains in France. The jury was composed by Eduardo Kac, Annick Bureaud and Ghislaine Boddington.

Interactive Installation and its Representation

Interactive Installation and its Representation
  Gordana Novakovic: Cyber and my sp@ce - Netizens and the new geography
Communication Front 2001
From 1-14 June in Plovdiv, Bulgaria
<< CFront - The Newspaper - p. 14 >>


How many complex interactive installations are experienced fully installed, in their complete version, even in specialised venues for electronic art? Not many, it seems: they are technically too demanding, and too expensive for the "white cube" galleries.
How to produce and exhibit such a work? More and more artists are turning from fine arts funds to scientific research centres that can provide facilities for developing art projects. MIT, Cambridge University, and Australia's CSIRO among others present such opportunities for artists. Is it another trap? Scientific institutions do not exhibit their "products" in public, nor do they have or need exhibiting spaces. But the work itself needs equipment for being exhibited that is often not found in galleries or museums...If an artist finally manages to produce a piece of art called an interactive installation, where and how to present the work to the audience? To make the problem bigger, almost absurd, the work cannot exist without the audience; its essence is to become an artwork through interaction with audience. Without the audience, it simply can not exist.
In their performative aspects, interactive installations are closer to the theatre than to fine arts. It is a complex artform, composed of separate art disciplines, conjoined with engineering, team work, and is similar to film or the theatre. It seems that this work is slowly nesting in spaces that were projected or re _ decorated for experimental theatre years ago. Those spaces with no fixed stage or audience areas, unlike the traditional European theatre, i.e. plain "dark cubes" with construction for audio/visual equipment on the ceiling, appear ideal. But this is still at the first stage.
Interactive installations are a category of electronic art, and in symposia or festivals are difficult to exhibit due to their complexity. So we come to the question of how to introduce them to a wider audience? Most exist through varieties of representations _ presentations on the internet, on CD-ROM, in writings and lectures. So, if we can't actually construct them, how to explain or present them to a live audience, while being clear, but not too long, or too boring, or too hermetic, etc?
Following commercial logic it is difficult to present and elaborate the essence of an artistic work: its mystery, sensations and magic. How to create a summarised description of the complex cerebral/audio/visual experience? If you make a full explanation of the philosophical and aesthetic aspects of the work, with technical descriptions, explanations of software design and construction, with the analysis of audio and visual elements, and above all of the interactivity that underlies the project (which is the only way to give some idea of what is it all about) the audience will most likely lose track after the first quarter of the presentation or lecture. If you exclude some elements, then, it is again impossible to present the work meaningfully.
If we try to make a parallel with other art disciplines that require a model or maquete, like architecture or sculpture or theatre, we will see again that we can not make simple comparisons. An interactive installation is not just an object. It has interaction as its final goal, and is concerned with abstraction and process. It is close to the theatre in a number of respects, and one is never in a position to make a presentation of the theatrical experience as such. An interactive installation emerges through its relation with "participants" instead of an "audience". This changed role of the observer is another difference that characterises the artform.
How can an audience visualise a project before it is constructed? Or an author describe a personal vision of the artwork before it exists? Does it need a different logic? What could be the best way to make a representation of an artwork? It might be to create a new artwork instead of trying to explain something that is ultimately non-verbal. It seems that a new category of electronic art has emerged. Instead of trying to describe something that exists in the spheres of emotion and non- verbal communication, we should make use of the same mechanisms that are engaged in experiencing an artwork; ie not to try to compose a representation of a complex emotional experience, but to create a new one. In other words to create a new work that will be a carrier of the same basic idea and concept as the installation, having as a result an entirely new form that will present the essence of the work.
In the particular case of the installation "Infonoise", presentations have been given to different audiences, from postgraduate students to international symposia, with a result that never completely satisfied the authors. For this reason we decided to produce a new piece that does not literally illustrate the different aspects of the installation, but rather focuses on an expression of its essence: information noise.
On "Infonoise" performance presentation:
As basic material for the presentation, which takes the form of a performance, we have used texts, audio/visual explanations and samples that were produced for various applications to festivals, sponsors and producers, and have concentrated on creating a clear expression instead of a literal explanation. In structuring the work, we have followed the principle of the musical canon as an analogy between the different layers and themes that are developed simultaneously in the installation work. Sound used in the actual installation, combined with textual explanations of the project in three different languages (English, French and Serbian) become polyphonic elements. The intention was not to read an explanation, but to use the vocal elements as sound. The result of this process is a performance for the audience, addressing the same questions as the installation with the same symbolic elements, but in the new, compressed form of a performance/lecture.
From the visual material that was produced during the working process, we have composed an abstract video without any of the schematic elements that describe the form and function of the installation, but rather an audiovisual expression of the substance of the basic idea. This approach became a kind of game, or an ionising of the academic, petrified ways of presenting an artwork. But it instantly evolved again into its original form: an installation. Now we have new material for an installation that is not too difficult to be exhibited. Unfortunately, it is not interactive any more. So how far does an idea need to mutate until it is simple enough to be presented? The so-called "project history" becomes important as an additional text for this purpose; it becomes an exciting story about the struggle for an idea, and how to express and shape an original vision to share with the audience.

Glass Mirror Optical Sculptures

DANIEL ROZIN INTERACTIVE ART

Glass Mirror Optical Sculptures :
This group contains 2 pieces that are made mainly of the material of glass mirror. Where all the other pieces in the show adopt the paradigm or interaction model of a mirror, these pieces are based on the actual material of mirror and rely on the complex optical behavior of this material.

Self Centered Mirror 2003
34 panes of mirror, Wood. Size - 120 Inches W 30 inches H 25 inches D.
Self Centered Mirror is an arrangement of 34 vertical panes of mirror. It has a retro-reflective behavior, this means that anyone standing in front of this mirror will see themselves reflected on all 34 panes, The mirror will also remove anyone else in the space from being reflected. This piece lifts the last obstacle from in the quest to total narcisism.


Footfalls

Golan Levin and Collaborators



Footfalls (2006, by Tmema [Golan Levin & Zachary Lieberman]) is an interactive audiovisual installation in which the stomping of the visitors' feet creates cascading avalanches of bouncy virtual forms.
Footfalls was commissioned in July 2006 by the NTT InterCommunicationsCenter (ICC), Tokyo, for their solo exhibition of Tmema projects. The project developed as an outgrowth of the "Bubbles" module from our Messa di Voce installation. In Footfalls, stepping and stomping sounds produced by the visitors' feet are detected by microphones under the floor, and used to govern the size and number of virtual objects that fall from a six-meter high projection. The harder the visitors stomp, the more items fall. Using their silhouettes, visitors can then "catch" and "throw" these projected objects around.