Coded Narratives (CN) is a retro-futuristic, campfire type of experience where the audience is an active participants. The work is articulated by the proto-programming language of Morse Code, declared dead in 1999. CN is a fable that is intrinsically linked to its corresponding sound art, as it is generated live via text input from the audience, and uses an emerging technological object of digital media and communication—the tablet—as narrative tool and conduit of art. Other programming languages interact with Morse in the articulation of the tactile audiovisual environment, resulting in a large chat-room where the audience pours letters and meaning into the tablet as communal device and stirs the narrative in the cauldron of collective experience formed from individual inputs.
Vanessa Ramos-Velasquez is the artistic agent who creates this socially interactive environment, where the audience (the users) is invited to generate the event that they themselves then experience and critique as it unfolds. The tablet is passed from person to person for the submission of text lines that are then transcoded into Morse code binary tone. The tone immediately feeds into the sound apparatus of the musician, A Guy Called Gerald, who uses the input as a layer for his live music composition.
Coded Narratives deals with the idea of "Demotion" (being displaced) as standing for the process of degradation from a superior or relevant position to a diminished role, as was suffered by the planet Pluto or the Morse Code. In general, Demotion touched on the disappearance of the single privileged source of information in the abundance of content and voices that is networked user culture, an idea plays an important role in both transmediale and CTM festival themes. The audience is asked: "How did you feel? What did you do when you were demoted? What will you do if you are ever displaced?"
In collaboration with transmediale.
Vanessa Ramos-Velasquez is an interdisciplinary artist and researcher from Brazil and the United States, where she was a Fulbright scholar. She navigates through performance art, installation, video art, and experimental film. In 2011 she received the Vilém Flusser Theory Award Distinction at transmediale for Digital Anthropophagy and the Anthropophagic Re-Manifesto for the Digital Age. She is currently a researcher at the Vilém Flusser Archive, UdK, and at Humboldt University.
Manchester’s own, A Guy Called Gerald is the British counterpart to American techno and house originators. His fame spread with the global 1988 hit Voodoo Ray, arguably the first British house record to capture the emerging electronic music era at The Hacienda. Gerald is among the few electronic music producers to have consistently redefined the character and soul of dancefloor music, creating tunes for both the feet and the head, and indelibly altering our cultural landscape.
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