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More Pieces, More Systems

December 6, 2012


Rene Barge Visual Score 2012Above is an instance of the evolving performative score posted on November 23, 2012.

Through computer science, my consoles and devices, and the modular electro-acoustic systems I have been exhibiting at Dorsch Gallery since 1999, I have developed an acute sense, an identity, for my alternative ecosystems. As the world became virtualized, a connected environment became relevant to me. The best examples of my interest in a connected environment are documented at Dorsch Gallery: the installations, Tint and Texture, Drops, and later when I invited Gustavo Matamoros to collaborate with me at Dorsch Gallery and we installed Two Chambers Divided by An Opening. These installations were spatialized systems that merged with the space, producing an alternative experience with all objects connected. The visual scores I am documenting here evolve from a connected system of performed relaying processes that yield outcomes in and of themselves, and outside of themselves. They are modular, evolving from what I know best, and cross-polinate other areas of interest such as organizing sound and objects in a space. The observed behavior emerges from gestures that reinforce concepts and spatial qualities that I identify with in working with a space, such as movement and stasis. These spatial qualities can be found within the OS of the products I interface on a daily bases; my consoles and devices, the tools that I identify with in my daily life and practices.


Porous Scores

December 3, 2012


Rene_Barge_Visual Score5_2010The visual scores began to emerge around 2010. Above is probably one of the first, generated after exhibiting a porous body at Dorsch Gallery, Miami, Fl. I got increasingly tired of sitting back and attentively listening to sound works I was attending to at that time.  Piddling with audio work, I began to identify visual elements in the space I was attending to with audio elements I was listening to, and decided it would be a good idea to work with the two mediums simultaneously. The amplified contacts, filtered textures, and acoustic colorants produced in the visual works became interventions at the elecro-acoustic table and later vice versa.

Rene Barge