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An Overview of Body-base Interfaces in Digital Art Stage Works by Rudolfo Quintas

By IGI Global on Jun 1, 2011
Rudolfo Quintas, a visual artist and performer specializing in the design of interactive audiovisual systems, developed two performance pieces that mixed live mediums of art with music and electronics. Over the past few years, IJCICG's Co-Editor-in-Chief, Adérito Fernandes Marcos from engageLab / Laboratory of Distance Education (LEaD), Universidade Aberta, Lisbon, Portugal, had the opportunity to partake in two of Quintas' modern artistic projects highly influenced by the use of digital media and computer graphics.

Premiering in October 2005, Swap was one of the world's pioneering augmented reality interactive stage performances. It emphasized and extended the motion beyond what could be seen, exposing the hidden fluxes that ran inside and around our body. Accordingly, the micro/macro scale changed our conception and comprehension of reality (fig 1).
Fig 1: photos from Swap, photo credid by Susana Neves. Swap credits: Rudolfo Quintas and Tiago Dionisio, Choreography by João Costa. Commissioned and Produced by NEC; Supported by O Espaço do Tempo, CENTA, IPJ.

Fig 1: photos from Swap, photo credid by Susana Neves. Swap credits: Rudolfo Quintas and Tiago Dionisio, Choreography by João Costa. Commissioned and Produced by NEC; Supported by O Espaço do Tempo, CENTA, IPJ.

The interactive system captured the performer's silhouette in real-time placing him or her in a virtual space where he or she interacted with thousands of small particles. The particle's behavior and composition was modeled in real-time by the computer graphics system, the interpreter's motion and by the digital artist's manipulation on stage. This collaboration originated a dialogue that was embodied in the projected visuals on screen and made the piece unique every time it was performed. The visuals could be described as a hybrid form that switched between organic and geometrical, abstract and figurative qualities.

What does the augmented place on stage mean? Why is it intimate and magical? When the performers are on the stage, they construct the meaning of the visual augmentations. At the same time, these augmentations affect and influence their physical and mental state. The concept of Extra-temporality was a main mind state to rethink space-time composition in eDGe (2006-2007), another interactive stage performance where some generated actions continued to affect and influence the performers beyond the time they were created—the gesture is extended in time. In eDGe, a contemporary view of the concept of portrait as landscape through a theoretical approach and a dramaturgical progression was proposed. The novelty on this work was that every aspect of the content was created from the body, there was no pre-set computer graphics and the most intimate detail in this work was that it was through a digital representation of the figure, that the dancers start to physically dance together as seen in figure 2. Fig 2: photos from eDGe (2006-2007), photo credid by Susana Neves. Swap credits: Rudolfo Quintas and Tiago Dionisio, Choreography by Andreas Dyrdal, Music by Eduardo Coutinho, Co-produced by ZDB, FITEI.

Fig 2: photos from eDGe (2006-2007), photo credid by Susana Neves. Swap credits: Rudolfo Quintas and Tiago Dionisio, Choreography by Andreas Dyrdal, Music by Eduardo Coutinho, Co-produced by ZDB, FITEI.

The motivation for Burning The Sound (2007-), a internationally acclaimed sound art performance about the nature of rituals and the relation they establish with the state of power and control, stemmed from pushing ritualistic primitivism by mixing body gestures with live electronic music to create sound art. Rudolfo Quintas developed a new interface for musical expression called "Glitch Delighter" that used fire from regular lighters conceived to play Glitch Music based on the idea of using fire expressiveness to digitally distort sound. On stage, he looked like he is "exorcising" the sound.

The performer gestured in relation to its instrument. Not only does it show the performer's emotional state, but it also brings instruments to life and makes them exist. The sounds are perceived as being burned by the flame. This synthetic quality engages the performer to feel a deep feedback loop between the instrument, his body and the produced sound. As for the audience, they are able to read and identify the consequences of gestures and movements in the sound enhancing the notion of "live performance" in computer music. Fig 3: photos from Burning The Sound, photo credid by Susana Neves. Burning The Sound credits: Rudolfo Quintas.

Fig 3: photos from Burning The Sound, photo credid by Susana Neves. Burning The Sound credits: Rudolfo Quintas.



Rudolfo Quintas 'Burning The Sound' / P:S: sound recorded from camera from rudolfo quintas on Vimeo.

The International Journal of Creative Interfaces and Computer Graphics is just one of many journals found within IGI Global's extensive journal collection that focuses on innovative research projects like Quintas'. This journal provides coverage of the most innovative and cutting-edge computer graphics and interfaces, focusing on the latest visual technologies that raise the bar for novelty, aesthetic beauty, sophistication, and utility. This scholarly resource encompasses the pragmatic and research aspects surrounding the design and creation of effective, novel, visual interfaces in support of creativity and productivity. IGI Global has recently published the second volume of IJCICG, which can be found at www.igi-global.com/bookstore/titledetails.aspx?TitleId=1161. Rudolfo Quintas was born in 1980 in Portugal were he lives and works. He started developing interactive art installations in 2000 seeking to expand the horizons and language of contemporary art. Quinta's research into the body as interface has been a fundamental element in his work frequently formalized in performance and installation art. In 2009 he was awarded with the Transmediale Distiction Award from Transmediale Festival for Art and Digital Culture Berlin and his work was published in Younger Than Jesus: The Artist Directory co-published by the New Museum New York and Phaidon Press, a directory which includes a survey of the most emergent young artists in the world. During last years his work has been exhibited internationally. He is a researcher at Engage Lab, University of Minho, Portugal. + info www.rudolfoquintas.com

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