television as art by Milan Atanaskovic /
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DescriptionI mapped the space around me, inserting virtual objects that are turned on by my movement. A webcam frames the scene and sends the information to the computer. When I move my hands in sensitive areas, the video reveals the activated virtual object by projecting a colored sphere, and a synthesizer play sounds - different for each colored area - and it's like playing a virtual Soundmachine. Experiments of this kind have their roots in the 80s, which I quote in makeup and optial clothing.
The experiment is part of a series of performances, ideally dedicated to Eadweard Muybridge and his studies on the Science of motion. In these performances I invent different devices that allow me to paint the space with light and the movement of my body.
Authors / Co-authorsFrancesca Fini
Techniquelive media, video
Year of production2011

10,748.19 kB
"To be or not to be?" The question is made by remixing the words of Sir Laurence Olivier in his Hamlet.

The question is always the same, eternal, but here gains new meaning. Being or not being here means to decide to exist in the real or virtual.

In the performance the most vulgar tools at the base of interaction design and digital entertainment are incorporated within a traditional aesthetic vision that gives them absolutely new and unifying meaning.

Technically the performance was designed to use a webcam connected to a real-time software that tracks my movements by associating them with sounds and turning my body into a synthesizer. At the same time my image, projected live on screen behind me, interacts with 3D graphics in order to obtain a kind of augmented reality. The concept behind the performance is the desire of melting togheter two very distant languages: Shakespeare and a video game. So, the onanism of playstation becomes public spectacle, while the aesthetics of ritual theater decomposes in the psychedelia of a videogame.
476.14 kB
"The Birth" is the first of a set of performance pieces that tell the relation of our culture with the idea of meat, liberated from its sexual references and conceived as the very essence, the physical and material of the others, the space they occupie, their smell in the air, and their interaction with us. The meat is a conductor of entire worlds with whom we seek some form of dialogue, of negotiation. I tell this short-circuit, the magic of touch and recognition of the presence of the others, and of something elusive but undeniable, through interaction design. I have a low-voltage electrode in the arm. The other pole is attached to the foil that covers the table. When I touch the flesh, this is a conductor and the circuit closes, sending a signal to a digital synthesizer that translates it into sound. Nothing can help us in this journey of discovery, where we have to venture drained and free, even if you exorcise your trip on a table supported by piles of books.

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