|The project "Video-letters for Acaraú, Santa Maria and Pereirinha / itacuruça" aims to create a circuit of "video-correspondences" between these communities simulating in time and real space the circulation and exchange of contents mediated by digital tools that already happen In virtual social networks.||The video will be the main means of bringing and bringing the creations of the everyday, messages and thoughts that each pole of the circuit wants to produce for the experiment.|
What was the experiment?
|Inspired by the works of Arte Ambient Sites, the project aimed at creating the "video-correspondence" circuit between the caiçaras and quilombola communities of Mandira, Marujá and Santa Maria. We simulate the real time and space of these communities that do not yet have internet communication, the circulation and exchange of content mediated by digital tools that already happen in virtual social networks. The video was the main way to bring and bring the creations of the everyday, messages and thoughts that each pole of the circuit wants to produce for the experiment.
The videotapes were made and edited by the collectives and then "posted" live to provoke the responses which, in turn, were also recorded and edited and re-released on the circuit. The display form for each video-letter was the TV / DVD monitor installed in private or public space where people from the addressed communities gathered to watch together. On that occasion, the atmosphere of celebration and curiosity among those who share and comment on the images and whose record - attached to the new contents - are already part of the next reply or rejoinder.
|In this way the network was woven for an affective cartography that served as raw material to express the artistic and imaginary richness of situations and reports of the "characters" around their traditions and their experiences: the world of "enchanted"; The allegories of the feasts; The garden rituals; The enunciations of the past present in dreams, autobiographical stories, etc.
It is important to note that the context of the local culture where the intervention took place is permeated by codes of conflict that have come from slavery and have come to this day in the struggle for titling the lands, in the conflicts with the Government Conservation Units and with dam implementation projects . It was, therefore, a question of constructing an artistic landmark in a territory that resists and recreates itself at the same time.