{"id":2538,"date":"2023-10-25T04:33:24","date_gmt":"2023-10-25T02:33:24","guid":{"rendered":"https:\/\/olivierfelixisselin.com\/?p=2538"},"modified":"2023-12-21T18:58:31","modified_gmt":"2023-12-21T17:58:31","slug":"electronic-rendez-vous-mistura-tendencias-artisticas-e-tecnologicas-emergentes","status":"publish","type":"post","link":"https:\/\/olivierfelixisselin.com\/index.php\/pt\/2023\/10\/25\/electronic-rendez-vous-mistura-tendencias-artisticas-e-tecnologicas-emergentes\/","title":{"rendered":"\u201cElectronic Rendez-vous mistura tend\u00eancias art\u00edsticas e tecnol\u00f3gicas emergentes\u201d."},"content":{"rendered":"\n
Entrevista \u2013 Le monde \u2013 de Pauline Garaude \u2013 17 de setembro de 2002.<\/h6>\n\n\n\n
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Mais do que um festival, o Rendez-Vous Electroniques tornou-se um manifesto das culturas electr\u00f3nicas. Para a sua 5\u00aa edi\u00e7\u00e3o, este evento, que decorre de 6 a 24 de setembro, d\u00e1 grande \u00eanfase ao imagin\u00e1rio visual. Olivier Isselin, diretor art\u00edstico da Rendez-Vous Electroniques, apresenta os principais destaques.<\/p>\n\n\n\n

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As imagens visuais desempenham um papel essencial no Rendez-Vous Electroniques de 2002. Qual \u00e9 a sua ambi\u00e7\u00e3o para esta quinta edi\u00e7\u00e3o do festival?<\/strong><\/p>\n\n\n\n

Na nossa sociedade, acredito que o p\u00fablico forma opini\u00f5es atrav\u00e9s de imagens. As imagens deixam o impacto mais forte e t\u00eam preced\u00eancia sobre as palavras. Tamb\u00e9m reflectem a nossa cultura, especialmente porque os criadores de hoje pertencem a uma gera\u00e7\u00e3o nascida na era das imagens. Por isso, era importante revelar a omnipresen\u00e7a das imagens na esfera cultural electr\u00f3nica, atrav\u00e9s de todas as diferentes formas de express\u00e3o que assume.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Nosso objetivo \u00e9 mostrar ao p\u00fablico que h\u00e1 mais para vivenciar do que aquilo que a televis\u00e3o ou os grandes produtores de cultura comercial oferecem. As culturas electr\u00f3nicas perturbam porque lutam para serem livres e rejeitam os \u201cditames\u201d de certas corpora\u00e7\u00f5es multinacionais. Quero representar uma amostra que comprove como as imagens e as culturas eletr\u00f3nicas englobam v\u00e1rios movimentos, como os g\u00e9neros \u201ctrans\u201d e psicad\u00e9lico, document\u00e1rio ou cinematogr\u00e1fico apresentados na s\u00e9rie \u201cNew Image Programming\u201d, bem como as atua\u00e7\u00f5es de \u201cvideo-jockeys\u201d. \u201d, videoclipes e fotografia com o festival #rt Outsiders. Al\u00e9m disso, duas confer\u00eancias ser\u00e3o dedicadas aos la\u00e7os cada vez mais estreitos entre a m\u00fasica eletr\u00f3nica, o cinema e os videojogos, onde cresce a sinergia entre criadores de jogos, criadores de imagens e criadores de som.<\/p>\n\n\n\n

Como voc\u00ea explica a crescente import\u00e2ncia do imagin\u00e1rio no \u00e2mbito da m\u00fasica eletr\u00f4nica?<\/strong><\/p>\n\n\n\n

A m\u00fasica electr\u00f3nica por si s\u00f3 nunca constitui um espect\u00e1culo visual como um concerto de David Bowie. Um DJ mixando m\u00fasica n\u00e3o oferece uma experi\u00eancia teatral. H\u00e1 um vazio a preencher, uma cenografia a desenhar em torno da m\u00fasica. Portanto, a imagem \u00e9 parte integrante da m\u00fasica, juntamente com o local e a morfologia espacial. No entanto, no dom\u00ednio eletr\u00f3nico, tanto a imagem como a tecnologia est\u00e3o em constante evolu\u00e7\u00e3o. Em termos de performances mainstream, o Pink Floyd foi o primeiro grande arquiteto a integrar luz e imagens com m\u00fasica no palco. Foram eles os pioneiros que ofereceram uma nova concep\u00e7\u00e3o ao local. A banda criou um ambiente, uma experi\u00eancia completa, conectando m\u00fasica, imagem, v\u00eddeo, local e luz.<\/p>\n\n\n\n

\u201cVJing\u201d is one of the artistic performances associated with electronic music. Furthermore, an increasing number of VJs are releasing their performances on DVD. What does this evolution symbolize?<\/strong><\/p>\n\n\n\n

The practice of \u201cVJing\u201d is highly diversified. There are different types of VJs: those who create images, filmed or computer-generated, specifically to mix them with music later on; those who work simultaneously with the DJ; and others who plan a live performance with projected images. The video medium remains challenging for artists, as it is difficult to sell, hence the advantage of DVDs. However, let\u2019s not deceive ourselves: an artist needs to make a living. Fixing a creation on a medium and commercializing it can provide them with a livelihood, similar to how records function. Until now, live performances dominated because the technologies did not allow for much else.<\/p>\n\n\n\n

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Entrevista \u2013 Le monde \u2013 de Pauline Garaude \u2013 17 de setembro de 2002. Mais […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[319,315],"tags":[],"class_list":["post-2538","post","type-post","status-publish","format-standard","hentry","category-entrevista","category-revista-de-imprensa"],"yoast_head":"\nFestival ReVE - Entrevista Le Monde<\/title>\n<meta name=\"description\" content=\"Arquivo OFI - entrevista O. F. 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