Download Hélio Oiticica and Neville D'Almeida, Block experiments in by Cruz, Max Jorge Hinderer; Buchmann, Sabeth; Almeida, Neville PDF

By Cruz, Max Jorge Hinderer; Buchmann, Sabeth; Almeida, Neville d'; Oiticica, Hélio

"Hélio Oiticica is among the key figures of Brazil's tropicalia stream. in the course of his remain in ny, and including film-maker Neville D'Almeida, Oiticia [sic] conceived Block experiments in cosmococa, application in development (1973-74), a sequence of 9 'supra-sensorial' environments, each one incorporating slide projections, soundtracks, cocaine powder drawings and directions for viewers. The paintings is the epitome Read more...

summary: "Hélio Oiticica is among the key figures of Brazil's tropicalia flow. in the course of his remain in manhattan, and including film-maker Neville D'Almeida, Oiticia [sic] conceived Block experiments in cosmococa, application in growth (1973-74), a chain of 9 'supra-sensorial' environments, every one incorporating slide projections, soundtracks, cocaine powder drawings and directions for viewers. The paintings is the epitome of what Oiticica referred to as his 'quasi-cinemas', and of his wish to merge person 'life-experience' with artwork. during this e-book, Sabeth Buchmann and Max Jorge Hinderer Cruz think of the impression the recent York underground scene and Brazilian avant-garde cinema had at the Cosmococas. They draw jointly the impression of concrete poetry and the writings of Marshall McLuhan, Henri Bergson, and others, to give a wealthy research of the paintings and its experimentation with length, its blurring of codecs and languages, and its modes of spectatorship"--Back hide

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Additional resources for Hélio Oiticica and Neville D'Almeida, Block experiments in cosmococa, program in progress

Example text

This would be the internal search, inside and Block-Experiments in Cosmococa — program in progress | 39 outside of the object, desired by the proposition of active spectator participation in the process: the individual to whom the work is addressed is invited to complete the meanings proposed by it — it is thus an open work. 55 Oiticica linked his concepts of a ‘new objectivity’ and ‘the supra-sensorial’ to the negation of existing generic categories. Accordingly, he spoke of ‘non-painting’, ‘non-sculpture’, etc.

22), and in the script for an unrealised quasi-cinema titled Nitro-Benzol and Black Linoleum (1969). The instructions for the latter stipulated that the audience be served a steady supply of Coca-Cola during a screening of all sorts of footage; later the participants would be asked to ‘sniff’ nitrobenzene before being left to entertain themselves in the ‘darkroom’ created by turning off the film projector’s light: IDEA 8 // AUDIENCE: none of the screens are lighted / no lights anywhere / complete darkness // NO TAKE / scene with audience: during 10 (ten) mins.

44 As we will go on to discuss later, cocaine, used in the Cosmococas both as medium and reference, is by no means replaceable by other psychoactive or illicit substances. Specific media may represent distinct instruments of mediation, but they are always Block-Experiments in Cosmococa — program in progress | 19 and most of all embedded in subject-object relations and inscribed in broader societal structures. Despite the fact that Block-Experiments in Cosmococa is an open programme in progress, it is fair to say that each of its parts (‘blocks’) integrates interrelated artistic and ethical, social and political, physical and mental, metabolic and pharmacological components that do point towards a process-based whole.

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