New article of my authorship “The Human Body as an Audiovisual Instrument” in a whole chapter of this superb book: Sound & Image: Aesthetics and Practices (ed.) A Knight-Hill (2020) Routledge.
Abstract
Focusing on two interactive works by the author: Skin (2012/2018) and Mindscape (2016/2018), this chapter describes how the human body is used as an instrument to create interactive audiovisual environments. Driven by the power of the organic body and its internal imperceptible fluctuations this research puts forward the idea that the human body has so far not been perceived in its totality. Based on biofeedback methods and by measuring the body’s physiological parameters via new technologies, these performances/installations propose the usage of the human body as an ‘audiovisual instrument’ that triggers sound and visual elements via the measurement of two biomedical-signals, Galvanic Skin Response (GSR) and Electroencephalography (EEG). Instead of using interfaces for these signals as an extension of the body, these works introduce them as a bridge, a means to help the perception of the human body in a different manner. Physiological activities directly connected to the nervous system are measured and stored in a computer, which thereafter introduces algorithms to project these usually invisible and inaudible internal fluctuations inside the human body to an immersive environment, a space where inner and subtle human manifestations emerge in audiovisual form.
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ENGLISH:
‘…. Claudia Robles Angel’s performance, for example, used wires that connected her brain to a system of projected images and sounds. What the audience received was a combination of pre-chosen images as well as the way that Angel’s brain was processing and reacting to them in real time. The other performances had similar arrangements, but Angel’s was the most extreme: watching her, the body became a wired machine, producing cold sounds and abrupt visuals very unlike what we associate with the brain, or with human feelings… ”
by Adela Yawitz Berlin Art Link
THE CREATORS (click here)
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eContact! (interview) (click here)
DEUTSCH:
”Dunkelheit. Ein in tiefes Schwarz getauchter Raum, der buchstäblich einer Blackbox gleicht. Nur schwer lassen sich die Umrisse einer Gestalt erkennen. Unvermittelt blitzen feine leuchtende Fäden auf – weiße und violette Lichtstränge, sternförmig angeordnet, intermittierend, kreisend, von einem surrenden Klangstrom begleitet. Welchen Ursprung aber haben Bild und Ton? Ausgangspunkt der interaktiven Performance MINDSCAPE (2016) ist nichts weniger als die menschliche Schaltzentrale: das Gehirn. Denn mit dem audiovisuellen Werk für Gehirnwellen, Licht und Surround-Sound macht die kolumbianische Medienkünstlerin Claudia Robles-Angel dessen elektrische Aktivität sicht- und hörbar. Mehr noch: Jede Aufführung beruht auf Echtzeit-Empfindungen, um daraus singuläre optische und akustische Projektionen einer im Titel angedeuteten ,Geistesschaft‘ zu generieren…”
by Gerardo Scheige. Der Klang des Köerpers Neue Zeitschrift für Musik 2018/03 , Seite 56
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ESPAÑOL:
RADIO UNAM – Testimonio de Oidas (Autorretrato sonoro) (click here)
FALLO DE SISTEMA (entrevista radio) (click here)
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UCV Valencia (click here)
FRANÇAIS:
Annecy Culture (click here)
DUTCH:
by Nico Out (click here)
PUBLICATIONS
• – Robles, C. The Human Body as an Audiovisual Instrument. Sound and Image Aesthetics and Practices. Andrew Hill editor, Routledge. ISBN 9780367271466.
• – Tense Present at KID KIBLA Multimedia Art Center. Online Catalogue ISSUU. p. 70-71
• -Robles-Angel, C.; Scherffig, L.; Birringer, J.; Seifert, U.. Bio-medical Signals in Media Art ISEA 2017 Proceedings pages 720-29. ISBN 978-958-759-161-3.
• –ENERGIE WECHSEL –an artist in residence project curated by Dr. Uwe Rüth at the IK Foundation Flushing. 2016. ISBN 978-90-825344-05
• – Robles, C. 2015. Audiovisual: Perspectivas de una entidad indivisible. IDEAS SONICAS #14. CMMAS editor. pages 19 -23.
• – Zona de Convergencia at Museo de Arte Contemporáneo Bogotá. Online Catalogue ISSSUU
• – Robles, C. 2014. Audiovisual art: perspectives of an indivisible entity. CEC -eContact 15.4. This paper is available at: eContact15.4
• -Gernemann-Paulsen, A.; Robles Angel, C.; Seifert, U.; Schmidt, L.. Physical Computing and New Media Art – new challenges in events. 27. Tonmeistertagung, 2012, Proceedings (in print).
• -Robles, C. 2011. Creating Interactive Multimedia Works with Bio-data. NIME 2011 Proceeding Books ISSN: 2220 – 4792 / 2220 – 4806 /2220 -4814. This paper is available at: NIME2011
• -Robles, C. 2011. EEG Data in Interactive Art. This paper is available at: ISEA2011
• -Robles, C. 2011. The Use of Bio-interfaces in Interactive Multimedia Works: Two Examples. BST-Body, Space and Technology Journal. VOL 10/01. Brunel University, UK (Online only) ISSN 1470-9120. BST Journal
• -Garavaglia, J., Robles, C. 2011. WOODEN WORLDS – Aesthetical and Technical aspects of a Multimedia Performance using Real-time Interaction. This paper is available at: ISEA2011
• -Robles, C. Biofeedback and Choreography. Performative Science and Beyond, Involving the Process in Research, Hans. H. Diebner editor, Springer Verlag, 2006. pages 146 – 147. ISBN 978- 3- 211-33357-0
• -Grond F and Robles C. INTERMITTENT – a Generative Audio-Visual Installation. Performative Science and Beyond, Involving Process in Research, Hans. H. Diebner editor,Springer Verlag, 2006. pages 128 – 131. ISBN 978- 3-211-33357-0
• –Audiovisuelle Komposition junger Künstler: Rudolf Frisius und Ludger Brümmer im Gespräch mit Damon Lee, Pei-Zu Shi und Claudia Robles. Rudolf Frisius (Hg.) Hören und Sehen—Musik audiovisuell, Edited by Institut für Neue Musik und Musikerziehung Darmstadt. Band 45, Mainz. 2005