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SALVÍFICOS MOVIMENTO #1 — MNEMONIC ESSAY
Interactive installation based on Arcade game, containing speaker, video monitor and console (joystick and command buttons) Webcam and braille signage + Interactive net art interface with Raspberry Pi programming. Approximate measurements of the Cabinet (installation: wooden furniture): Alt. 175 cm X Width. 65 cm X Prof. 80 cm.
Machine Learning and A.I: Roger Sodré; Digital manufacturing: Allan Moreira; Raspberry Pi: Victor Guerra; Soundtrack: Rodrigo Caê;Interlocutions: Larissa Macêdo and João Simões Database: Irving Pinelo and João Cerala; Mediation: Hugo Coutinho and Photography: André Fraga.
The expanded audiovisual uses “face recognition” software, and starts from the investigation of the genetic origin of Brazilian Afro-descendants, also allowing the participation of users with varied phenotypes, proposing to think about memoricide and identities, problematizing the idea of representation and patterning.
The Arcade Game (generally present in places of electronic games, of chance and games of entertainment) will have in the soundtrack and visual of the interactive program, standards that refer to the “Afrofuturismo”. Reflections onthe African diaspora are dense by appropriating another imagery reference, idealized by the artists of the “French Artistic Mission” of 1816, whichrecorded everyday life in Brazil at the time of colonization”.
Records (drawings, watercolors and paintings) that made up a showcase of physiognomic characteristics of enslaved people, mostly coming from two macrocultures: the Sudanese (Nigeria, Sudan and Benin) and the Bantu (Sub-Saharan Africa). These phenotypic definitions, “templates” (behind: current photos offaces of blacks from African regions), are indexed patterns andhosted on the platform, suggesting agreements and disagreementswith the characteristics of the faces of the interactors andtheir possible degrees of descent when pointingto one of the 9 “Kingdoms” in the game.
Larissa Macêdo & João Simões
