Obra para teclado y mouse

In Obra for keyboard and mouse, sound and image are present, the objective is to be an instrument that, through keys and horizontal and vertical movements, produces various sound and visual compositions simultaneously.

Interaction:

Mouse: move in X/Y direction

Keyboard:

piano=“p”

pizza=“z”

cello=“c”

pad=“d”

perc=“r”

sint=“s”

sint2=“S”

had=“t”

Technical, aesthetic and conceptual development

Work for keyboard and mouse was born from the idea that any object can become an instrument for making art, taking the computer keyboard and mouse with their possible gestures as means to create the audiovisual piece. The sound bank provided in the instrument has in common the note “E” and the intention of exploring the timbral, rhythmic and textural possibilities with a single pitch, varying only its register. The interaction of the peripherals in the visual aspect affects spatiality, its displacement and creation of planes since the objective is to create an immersion of shapes within shapes, united through materialities such as lines and points. During this process of generating a dynamic space with the image, I observed the work “variations between movement and stillness” carried out in practical work #1 in which I explored the dynamism and repetition of movement, but in contrast to this work, in a static image. So I found a point of continuity in the intention of generating a space, but with the possibility of adding a new dimension and its possibility of movement.

Given the possibility of interacting with the image and sounds, the decision that whoever observes also interacts from an active position, is a performer of the instrument and generates his work, arises from the idea of ephemeral action, the different directions and the chance mentioned in Kaprow’s text “Happenings in the New York scene” in which he mentions materialization through improvisation, without knowing what will happen next, limited only to controlling the piece by “keeping it alive” and generating it. through action, he says about the intervention of chance “It is a purposefully chosen modus operandi that permeates the entire composition and its character. It is the vehicle of spontaneity. And it is the key to understanding that control (the configuration of random techniques) can actually be the cause of unforeseen or apparently uncontrolled effects.” Whoever observes plays the role of interpreting the sounds, lines, points, shapes and giving them their intention, which will never be the same and will have as many variations as there are people who play the audiovisual instrument.

Literature

KAPROW, Allan. (1961). “Happenings en la escena newyorkina” en Entre el arte y la vida. Ensayos sobre el happening. Barcelona: Alpha Decay