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Robert Pugliese portfolio book_2013


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Robert Pugliese portfolio book_2013

  2. 2. Roberto Pugliese is a sound and media artist currently based in Helsinki. His work consists ofcompositions, installations and performances based on sound in combination with the visual andaudience participation. He uses sound and its transformation to establish alternative relations betweenaudience and the space. By collecting and digitally processing environmental sound and video material,he works towards a common language among visual and sonic imaginaries.Also he has been collaborating with dancers and choreographers for the creation of alternative stagesand forms of new media performance.In my installation I am interested in the role of sound in the shaping of our experience of places and the sense of presence inour daily life. We participate with our actions in the creation of soundscapes, be it natural, mechanical or digital.I have been focusing on the experience of sound as physical and intimately connected with the sense of touch.My artistic practice springs from the phenomenology of the senses of touch and hearing, and moves towards strategies ofdecoupling, augmenting, subverting the usual “contact” with those channels. The result is a magnification of their impact, notjust as a force, but also of their importance as mediator of our experience. I can say my works are multimedia pieces wherethe viewer participates and re-establishes a previously altered, offset relation with the location. 1
  4. 4. The Space Of A Year2-channel audiovisual installationThe space of a year unveils and explores the sonic and visual territories that weinhabit and the transformations that they undergo during the year. Sometimesthese changes are sudden and strong, but other times they just go by gradually orcompletely unnoticed.The changing sonic and visual textures that we attribute to different seasons ofthe year are dissected, blended, disrupted and distorted. The installationcontemplates how different notions of the sonic and visual transformations thatsurround us reflect our perception of time – and, on the other hand, how ourperception of time is anchored in acoustic terrains.Walking around in the space deepens the imaginative and immersivedimension. The sonic palette triggers personal memories and subjectiveperceptions of familiar places.The space of a year creates a dialogue among the inhabitants of the samelatitude through the experience of a common sonic and visual imaginary andthe passage of time. 3
  5. 5. 4 the space of a year - installation model
  6. 6. the space of a year - double projection frames 5
  7. 7. 6 the space of a year - double projection frames
  8. 8. the space of a year - double projection frames 7
  9. 9. 8 the space of a year - double projection frames
  10. 10. 9
  11. 11. puShy sound and tactile installation An interactive fabric of sound reacts to touch. The piece invites exploring the intimate relation between sound and touch. Producing sound become easily accessible by naturally touching the fabric and discovering its tactile and sonic properties at once. The three frames are transformed into different instruments that several participants can intuitively play at the same time. Improvising, coordinating and "playing" together remind us that music is at the very core a participatory and social activity. The installation is an example of how to transform the tactile exploration of a physical object into a performative and possibly collective sound-making activity.10
  12. 12. puShy at Plektrum Festival - Tallin, 2011 11
  13. 13. 12 puShy at Plektrum Festival - Tallin, 2011
  14. 14. puShy at Plektrum Festival - Tallin, 2011 13
  15. 15. 14 puShy at Plektrum Festival - Tallin, 2011
  16. 16. puShy at ONEDOTZERO for Acer event, Science Museum - London, 2012 15
  17. 17. Traffic participatory audiovisual installation Traffic is an ambient interface for a public space realized in collaboration with Rachel ODwyer. The system monitors and responds to the many and varied flows of movement within a public space, such as crowd densities, mobility patterns and virtual traffic on a public network. This data is subsequently used to drive a granular synthesis soundscape and visualizations. The system is a real- time response to the space but also incorporates a temporal dimension, storing information about what has taken place there before, and subsequently leveraging this data to produce subtle emergent behaviors within the system. The system was conceptually inspired by two research imperatives: ambient interfaces and data sonification. The soundscape produced is quite subtle and provides information about a user’s environment in an unobtrusive fashion, only calling attention to itself in rare circumstances such as very high incidences of human/network traffic through the space.16
  18. 18. Traffic, visualization of visitors flow 17
  19. 19. 18 Traffic, Science Gallery, Dublin, 2010
  20. 20. Traffic, Science Gallery, Dublin, 2010 19
  21. 21. The child with the mirror interactive audiovisual installation The child with the mirror is an interactive installation which portrays the dream experience. The piece is an interactive journey in physical space for one visitor at a time. The installation presents visual elements, which are projected on multiple flat screens and custom-made objects, multi-channel audio and provides ways for the participant to interact and affect the piece.20
  22. 22. The child with the mirror, Joy Gallery, Dublin, 2009 21
  24. 24. Live at Borealis Festival 2013 ice and live electronics A performance for live electronics where sound from melting ice is picked and processed real-time. While the source vanishes it provides material to be used for musical purposes. The aleatory characteristic of the process is partially governed by the use of live-electronics and custom software. The performance combines these live elements with field recordings based on the soundscape of Fortapt i naturen (lost in nature) by Thorolf Thuestad.24
  25. 25. Borealis Festival, Bergen, Norway, 2013 25
  26. 26. 26 Borealis Festival, Bergen, Norway, 2013
  27. 27. e-mpact Adigitally augmented audiovisuall performancee-mpact A is a multimedia dance performance where choreographed andimprovised elements coexist and articulate themselves through motion, visualsand sound.The piece stems from both electronic and environmental impact. Theperformance takes an ecological point of view regarding the relation between acyborg and its environment, who affect and react to each other in a fluidfeedback loop.The visuals appear as organisms that occupy the same space as that of thedancer, interacting with him. Their movement is driven by the sound as if theywere dancing to it.When the visual elements and the dancer’s body are close enough, the costumebecomes the point of contact that makes the dialogue between real and virtualpossible.The artistic team includes also costume designer Sampo Lehtinen, industrialdesigner Mikko Anttilainen and media artist Tuukka Takala. 27
  28. 28. 28 E-mpact A - CARTES FLUX festival, Espoo, Finland, 2012
  29. 29. E-mpact A - CARTES FLUX festival, Espoo, Finland, 292012
  30. 30. 30 E-mpact A - CARTES FLUX festival, Espoo, Finland, 2012
  31. 31. Augmented dance performancedigitally augmented audiovisuall performanceIn this audiovisual performance with Beniamino Borghi, we search for anaudiovisual dialogue on and off stage. The dancer, confined on the little table,becomes a canvas for the projection, driven by the sound. At the same time hismovement creates sound picked by the microphone underneath the table. Aconversation among different media is established.Presented at Loikka Festival, Helsinki, 2012. 31
  32. 32. 32 Loikka festival, Helsinki, 2012
  33. 33. Visual performancedigitally augmented audiovisuall performanceIn this collaboration with the ensemble Ö, lead by composer Tuomas Palonen, Iexclusively work on performing visuals which are animated, accompany andcomplement the music played by the band. The concept is that a dancer guideswith iconic gestures the performers, which play independently following differentmusical rules and tempi. The result is a complex intertwine of media andperformative layers. 33
  34. 34. 34 Harakkasaari Art Gallery, Helsinki, 2011
  35. 35. Lavaklubi at Finnish National Theater, Helsinki, 2011 35
  36. 36. 36 Lavaklubi at Finnish National Theater, Helsinki, 2011
  37. 37. Selection of worksINSTALLATION Multimedia performances with Ö orchestra at Performance Club Hidas, December 2011, Tampere (FI); Harakkasaari ArtPuShy, a tactile sonic installation, Science Museum, 31 Gallery, May 2011, Helsinki (FI); Lavaklubi at Finnish NationalOctober 2012, London (UK), and Plektrum festival, 8-18 Theater, May 2011, Helsinki (FI).September 2011, Tallinn (EE). simpleLife, generative sound piece for 8 channels, 4for8 event,Traffic, sound and visual responsive installation, with Rachel TAI studio, University of Art and Design, April 2011, HelsinkiO’Dwyer, BIORHYTHM exhibition, Eyebeam Art (FI).+Technology Center, August 2011, New York (US), andScience Gallery, July-September 2010, Dublin (IE). Interactive digital performance workshop in collaboration with the Beckett Centre, Science Gallery, 7 March 2009, DublinThe child with the mirror, interactive installation for multiple (IE).projections and surround sound, Joy Gallery, 26-28 June 2009,Dublin (IE). Sound design for the play “The Insanity of Mary Girard” by Lanie Robertson, at Samuel Beckett Theatre, Trinity CollegeAction painting through digital media, interactive installation, Dublin, 4-7 December 2008, Dublin (IE).Science Gallery, 26 January 2009, Dublin (IE).PERFORMANCELive set at Boreali Festival, 9 March 2013, Bergen (NO).E-mpact A – audiovisual dance performance, with dancer/choreographer Mikko Kallinen, Cartes Flux festival, 17October 2012, Espoo (FI).Augmented dance performance with Beniamino Borghi,Loikka Festival, 24 March 2012, Helsinki (FI). 37
  38. 38. ROBERTO PUGLIESE © 2013