EXTREME FLICKERING EXPERIENCE
Autor: Alessandro Santana | Publicado: 2013-12-03T17:18:00-03:00

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 Vídeo, Cor / PB, 1 min.
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O corpo é o
receptor de toda obra de arte. Para esta função depende dos órgãos dos sentidos
que integram o complexo, interagindo com o espaço exterior. Nas artes
plásticas, o olho é o intermediador entre a obra e o cérebro que irá
decodificar a informação artística aplicada na obra. No cinema, as informações
visuais combinadas às auditivas se complementam concretizando a obra.

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Extreme Flickering Experience é um estudo
prático da estruturação das mínimas unidades de imagem em movimento e as possíveis
formas de combinação de imagens alheatórias (ou variações de uma mesma imagem
em cores diferentes) além de uma posterior observação ótica dos seus
resultados. Neste caso, estou trabalhando com vídeo digital em sistema NTSC que
utiliza como padrão 29 frames por segundo. A proposta do vídeo é exatamente de
observar as reações físicas advindas do excesso de informação visual e auditiva
que levam ao extremo a capacidade de percepção humana. O título em inglês pode
ser entendido em português como "experiência
piscante extrema". A trilha sonora é a musica Test Patern #0010 do
compositor japonês Ryoji Ikeda que trabalha o ruído branco como objeto sonoro
das suas composições (o ruído branco é uma combinação simultânea de todas as
frequências sonoras).

O cinema, ainda
em seu período experimental chegou a definir um padrão de 24 quadros por
segundo, baseados na persistência da retina humana, chegando à conclusão que as
imagens projetadas com velocidade acima de 16 quadros por segundo são
interpretadas pela retina como imagens sem interrupção. Entretanto, neste
trabalho temos a velocidade das imagens alternando entre negativo e positivo,
somada à combinação de cores (cor primária e sua complementar utilizadas
consecutivamente) piscando em uma média de 20 a 29 imagens diferentes por
segundo, que associadas à trilha sonora em stereo, atuando informações sonoras
diferentes em ambos os canais, acabam por gerar o chamado ritmo taquicoscópico subliminar,
segundo o Dr. em ciência da comunicação Flávio Calazans, conforme seu artigo "midiologia
subliminar: propaganda subliminar multimídia - o estado da técnica ao raiar do
ano 2000". 

Este trabalho
tem como base obras do cinema estrutural, vertente do cinema de vanguarda que
Adams Sitney, criador desta nomenclatura, definiu como um cinema baseado na
estrutura de sua forma onde qualquer conteúdo é mínimo, sendo esta forma
simplificada e predeterminada. Sitney aponta ainda quatro características das
quais duas delas aparecem neste trabalho: a câmera fixa e o efeito de flickagem, embora esses pressupostos sejam
amplamente discutíveis entre os teóricos.

&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Como
obras de referência deste trabalho, temos o filme Arnulf Rainer do cineasta
austríaco Peter Kubelka, (composto de fotogramas pretos e brancos e ruído
branco e silêncio em alternância), e mais quatro obras do pintor e cineasta
americano Paul Sharits que valoriza a diferença entre os fotogramas resultando no
impacto desta diferença sobre a retina durante a projeção. 

&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Realizando esta pesquisa, pude notar ao montar e assistir ao vídeo Extreme Flickering
Experience, depois de definir previamente sua estrutura, que qualquer variação
na ordem estrutural das partes que compõem o todo é extremamente crucial para o
modo como o olho humano (e consequentemente o cérebro) irá codificar essa
informação, por menor que seja esta partícula de informação visual. Também pude
notar como o efeito flickering e a
combinação de cores pode nos causar, em longos períodos de exposição, além de
cansaço visual uma sensação física de mal estar, comprovando assim a relações
entre o objeto artístico e corpo, e como percebemos o invisível através dele. 



Referência
Bibliográfica:



ADRIANO,
Carlos. Um guia para as vanguardas
cinematográficas. Encontrado em http://pphp.uol.com.br/tropico/html/textos/1611,1.shl
acessado em 04 de agosto de 2009.

ARNHEIM,
Rudolf. Arte e Percepção Visual: uma
psicologia da visão criadora, São Paulo: Pioneira, 2002.

CALAZANS, Flávio. Midiologia subliminar: propaganda subliminar multimídia: 

o
estado da técnica ao raiar do ano 2000,&nbsp;
http://www.eca.usp.br/alaic/Congreso1999/13gt/Flavio%20Calazans.rtf
acessado em 04 de agosto de 2009.
GIDAL, Peter. Structural Film Anthology, London: British Film Institute, 1976.&nbsp; 

&nbsp;