Elements: urban mutated bodies, public and intimate space and sound, graphical documentation, ecology, gender

Exosculptures: recycled sensors and circuits attached to our skin implemented with other local urban elements, form contemporary traditional costumes. We would like to improve our concept of exo-sculptures in one hand, in terms of sound performance and plasticity.

On the other hand in terms of sculptural investigation on form and textures while expanding the sculptural skin (exosculpture) into space architecture.

We would also like to experiment with different sensors of light, humidity, temperature so as to compose different possible concerts in interior and exterior environments under different physical conditions.

We always appropriate technology under a critical view thinking on its use and circulation and hyper consump - tion. That s why we experiment with recycling and bending technologies.

We consider that the understanding and use of low technologies is important in terms of knowledge and provokes empowerment, inviting in a more active attitude towards the machines and open source attitudes.
To M. Serres, noise is multiplicity – “possibility itself”. Furthermore, “it is not strength, it is the very opposite of power, but is its capacity. This Noise is the opening…”
Noise as opening, as possibility, as capacity. If we cut out noise, we risk cutting out possibility.
“…it is already easy to see that non-tonal compositions are queers in the concert hall…[T]hey are marginals, oddballs, outsiders…products of the degenera- tion of tonal orders”. (Extracto: Sexual and Musical Categories” , Fred Everett Maus , Noise Music as Queer Expression)

The immersion of the body has the capacity to activate audible and visual devices, suggesting an infiltration into the machine, allows us to increase our cy - borg-hacker-fantasy in which different subjects open the codified, open the way into other liberated ecosystems.

We are interested in working the concept of noise, in terms of form alteration of the visual and sound element and its content. *(DIY_DIT Scrambler, 4093- 4060, Different kinds of Schmitt trigger, electronic touch sensors, data bending)
We are interested in experiment in terms of performance and movement also in the public space, searching for interaction with the accidental spectators-users. (urban choreography) In this way the exosculptural skin is relocated in its natural environment. We would like to use, intervene and work on a close relationship with the local physical space of the city and neighborhood transferring, transforming or im - plementing fragments of it and of us on the art space.

On our work the limit between the term representation and presence is slight, for that we would like to work more in this conceptual relationship, in the presentation form of our work like un experiment process and not us an object of contemplation, but in the meanwhile we desire to create a landscape where one can derive. (dérive) We would also like during the following months, by the title uncomfortable positions, transfer in painting and drawings all our photographic work that was censured from the social networks during the filtered intimacy project. By this way we want to explore the different role and impact of photography and paint - ing in visual documentation and the supposed freedom of circulation that celebrates the 2.0 era of internet communication.

The proposal consists on a perspective displacement. Instead of composing on an interactive mode, compose the interaction. The idea is to create a system of work that can take information from the exter- ior public conditions and use this information to organize and determine itself under the principles of an ecosystem.

work in progress:

romantic primitivism 

fetich simulations of floating personalities

glittering galaxy of a splatter culture

incomplete description

atypical roles

Next to a place where sexual deviance is being celebrated.

Still erecting barricades against sacrificial violence.

-cuts leading to clashes with riot police,

debt crisis-

Romantic primitivism.

[: 8.2% of xxxx clinically depressed,

21% of financially troubled contemplate suicide

Main roads already closed.

The world, and markets, are watching Wednesdays rallies.

30,000 public sector workers could be suspended before the end of the year.

Clashes at the lower part of the square.

The violence of naming.

Square.

-Drive towards revision,

playfully!

disturb the limit of both animal and human existence;

What it means to exist through relations with an Other?

•    Filtered Intimacy: a collaboration between Wendy Ann Mansilla and Transnoise (work in progress) Abstract
We are filtered online. Our bodies are seeking to understand and pursue the perfect state. Our bodies are finding ways to break out of reality only to be confronted with fail- ure. The very moment that our bodies enter the intimate lives of others through computers and communication space, we are losing parts of our flesh. In the electronic space, we are leaving fragments of our bodies behind. We are unaware that the energies in our body can pass through the network cables and affect another entity. Beyond thinking, our body is speaking in the interconnected universe. The body and the universe are inseparable, and in the darkness they are in union, reproducing an infinite amount of light and sound. Continuously searching perfect flows to the point of disfunction. When disorder happens, concrete landscapes are married with ab - stract images where flesh and circuits are made one.We are collaborating together to experiment on stage movement, using sensors and circuits attached to our skin (exo- sculpture). Through interactions of our bodies, we push our digital slaves to generating a concert of noise and harmony. Meanwhile a visual composition is projected gath - ering new data from a variety of social network sites every few minutes.The system searches these sites for dialogues between the actual body performing on-stage, the technology and the ecosystem, collects and stores them in a database. Every image that appears creates a sound. In Filtered Intimacy, two input of sounds are combined, from the live physical performance ritual and from the networks live performance.