11,9 d’glids

Vasco Diogo

9:56 min




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11,9 d’glids follows the logic and structure of the original music by Helder Filipe Gonçalves: a composition for two pianos impossible to be played by humans, only machines and computers. In this film, it is used a single green brush, hard to control by rational will, for the animation, that highlights the rhythm and the melody of the music without disturbing the experience of “deep listening”. Both image and sound work against the notion of “transparency”.

I consider myself a beginning artist with a beginner’s mind. Most of the time I don’t know exactly what I’m doing except for the fact thatI’m working in a flux of expanded consciousness quite different from ordinary life. In spite of that, I like to work on the blurring offrontiers between life and art by including processes and actions that were always available to my intuition and judgment. It’s probably only a matter of listening to “silence”. Accordingly, improvisation and indetermination are constant ludic concerns in the processes I like to work with. Moreover, an outsider, primitive or raw creation spirit always drove my urge to make things, both in video art as in performance art or mixed media. But, on the other side, I’m strongly influenced by the language of experimental cinema and video art, not only as a viewer but also as an academic researcher and teacher. That led me to a growing conceptualization of my work regarding issues of medium specificity (mainly related to video art) such as technologyco‐creative determination, temporality, manipulation, selfdocumentation, the body as language, the hybridization betweenimage, sound and real space and the viewer’s implication in thework. These are all “serious” things which I like to explore with agood sense of humour keeping in mind “classical” artistic values such as image composition, color, form, rythm, etc. All intuition is also a matter of perception and all perception is also a matter of reasoning.This principle works both for the single channel videos I make butalso for the installations and “live video performances”. Thesedifferent forms of expression I’ve been using share a commoncharacteristic: making us listen, see and feel impossible, more thanbeautiful, things while believing in their hidden, spiritual truth. Thatis my permanent sanctuary now: real irreality.