UCR0N1C4 has been released in a first special edition of fifty copies.
Recorded live on Saturday 8th of April | 17 hs.
Auditorium Jorge Luis Borges
“Cycle of contemporary music concerts, organized by the National Library. On this occasion UCR0N1C4 is presented, an interactive audiovisual installation by Eduardo Imasaka.”
Having received an invitation to participate in the concert cycle for contemporary music, organized by the National Library of Argentina, its own history was used as reference to develop an action with an audiovisual experiment that speculates about the #uchronía, a variable in the timeline. In the mood of utopia / dystopia the basic architecture of the present building is composed using digital tools.
This performance took place at the Jorge Luis Borges auditorium in the National Library of Argentina on the 8th of April, 2017.
Since the construction of the building was assigned to this location in 1962, up to the beginning of construction in 1971, through 30 years of constant dictatorships and coups that continually slowed down its completion until its inauguration in 1992 by the country’s second democratic government, the library shows us the conflict of its installation as a property intended for public use.
The history of the national library is symbolic and synonymous with an emotional wound that´s still open among conscious citizens.
UCHRONIA refers to terms applied in the science fiction literature, as in the use of a time machine that travels between paradoxes from the very moment it was created and set in motion. In this case it is manifested as an interactive audiovisual installation, of post apocalyptic character developed in real time on different technical emitters stimulated by robots and custom applications produced by the author.
#UCR0N1C4 is an audiovisual machine, a representation or simulation of a temporary trip between the 11 dimensions seen from inside the auditorium through a screen.
video recording: Mariano Ramis
It broadcasts the universe of the auditorium, seen through various camera angles, transitioning between the temporal membranes within a substrate of larger dimension.
The architecture and its surrounding area evolve into variables of alternate realities, emitting the sound and the image of the liberation of matter by the ceaseless passage between each membrane.
The image is digital, based on the building’s architecture where the auditorium is located, and its morphology is united in the composition of the sound. This generated by the materials that make up the represented building: metal, cement and wood.
These elements are stimulated, combined and then manipulated using electronic resources controlled by a computer. It’s also connected to a smartphone so that the audience can communicate with the installation noticing their presence and generating variables in the execution.
Ph, Gabriel Rud
The whole development evokes a call to the memory of the passage of time, proposing alternative variables from a present state. The communication of the viewer by means of sending a message to the screen, proceeds to an immediate situation in the subject, from the present analyzing the past is found by its expectant manifestation facing of the future.
The location of this library is situated on the site of the demolished presidential residence in use until 1955. The beginning, development, and conclusion of the work is plagued by conflicts.
The palace Unzué was situated in this location, built at the end of the 19th century by a wealthy landlord and expropriated by the Argentine state to be used as a presidential residence since 1936.
On June 16 in 1955 a bombing over the government building left more than 300 dead, effectively removing the current democratic government and establishing a military dictatorship communicating in favor of democracy.
The military action was later called “Revolución Libertadora”. The coup proposed to remove the obstacles for investment of foreign capital in the country.
Due to a constant influx of citizens to the former Unzué palace, it was demolished on order of the military government to eliminate any possibility of commemorating the previous democratic government.
On March 5, 1956, the de facto government issued the Decree-Law 4161: Prohibition of Elements of Ideological Affirmation or Propaganda. It stated, “those who infringe upon this decree-law will be punished with imprisonment, from thirty days to six years, and will be fined from $500 to $1,000,000”.
During the war of 1982, the de facto government dictated there would be modifications made to the national library’s design due to budgetary restrictions, by removing the adjacent sunscreens. The modification annulled all the climatic protection, and so the internal environment was doomed to the external elements and environment.
In Memoriam of Alfredo Gialdini and Rolando Mañanes.