Glitchy textile



Sonic Maps: Overlapping Cities

Overlapping Cities

Lima is one of the most chaotic cities in Latinamerica. It is visually eclectic; most of it has been built without appropiate zonal planning, giving the city a particular architectural richness born from this lack of control, and has high sound pollution. But this usually negative quality can be taken as an ouvert sign showing an alive city, where fruit sellers on bicycles can still scream, cars keep on honking and people still scream from one side of the read to the other sidewalk…

Can we map a city by its sounds, and transfer this mapping onto another city’s streets? Can we bond both cities through this action? Find similarities, correspondences?

This are the questions that I will intend to answer with my project, that in 2014 consisted of walks in specific parts of New York City; headphones connected to a system designed especially for this performance will play sound recordings of Downtown Lima while the person is walking, with the sound reacting to the movement of this person, as if moving within the streets of Downtown Lima. 



Electronic system for reproducing sound (arduino-based)


Electroconductive thread




The idea is to develop a special type of headphones (wearable technology based on smart textiles) that will reproduce and modify the sounds being played varying on the position of the listener.

The type of platform used for programming is the arduino-based LILYPAD MP3 (http://www.amazon.com/SparkFun-LilyPad-MP3/dp/B00CRQOF92#productDetails) and the LILYPAD ACCELEROMETER (https://www.sparkfun.com/products/9267).






Electronic Pan-American Audiovisual Experience

The reason, the cause… To ask why implies to go to the origins, to the
root; to go backwards in time.
Ancestral Pan-American beliefs assumed time as circular, as a process that
repeated over and over again… As what nowadays would be labelled as a
“loop”. In computer programming, a loop is a sequence of instructions that
are continually repeated until a certain condition is reached. This is a
portion of the code that is of basic nature; it is considered one of the
three elemental logic structures within any complex computer program (Paola Torres).

rayku5 raykustill1 rayku3 rayku2

Rayku performing at the Museum of Modern Art, Stockholm, Sweden

Rayku performing at the Museum of Modern Art, Stockholm, Sweden


This project involves both sound and visuals; traditional andean
instruments and imagery are modified through the use of computers and
technological equipment… With musical styles ranging from ambient music
to healing music, soundscapes, techno, minimal techno, and ethno music
lead us to a melodious and powerful audiovisual fusion of the Peruvian
Andes and the cosmos.

Ronald Sanchez is based in Berlin-Germany, creating what he defines as “The Cosmic Folklore”, the sum of the traditional sounds of ancient Peru and a subtle dose of Shamanic and neorituales environments. Recently he edited Altiplano’s (his main sound project) second album, Caral.

Coraza Mayor, Dance (Santiago Avellaneda): in the Comsology of Inca culture, the four corners that the Empire was split into correlated with earthly and cosmic nature: Collasuyo, located south east of Cusco, the Contisuyo, located south west of Cusco, the Chinchasuyo, located north and west of Cusco and the Antisuyo, located northeast of the Imperial City. The father Sun (Tata Inti) was represented by an earthly ruler “Manco Capac” This in turn had high priests (Curacas) who ran the various rituals and festivals, among the rituals and festivities there was ritualistic dancing, which had different meanings. The elements of life were treated as very important and deserved dignity: earth, water, fire and air.
With the four earthly powers and the four forces of nature (earth, water, fire and air) was governed and constituted the great Empire , the Tahuantisuyo. Through my knowledge I feel the need to contribute to this Inca Ritualistic Dance, which comes directly from “open veins” , from the Apus-Curacas the voice of my ancestors.

Shifting Channels


Interactive Videoinstallation. “Operant conditioning, also called instrumental conditioning, is a method for modifying behavior (an operant) where an individual modifies the occurrence and form of its own behavior due to the association of the behavior with a stimulus. Its creator, Skinner, suggests we simply give up the fort and accept the fact that no one is free and that all our behavior is determined. The task then is to take systematic control of the circumstances that control us, rather than leaving them up to chance.”

>> Channel Distribution

CH1 (Channel 1) – moving in this area (left side of space) changes among scenes filmed in Lima.
CH2 (Channel 2) – in this sector (right) there is also reordering of sentences but of a set of videos recorded in Stockholm.

After some months of studying in New York, when I finally seem to be adjusted to my life far away from home, I noticed something peculiar happening during the night: all my dreams were situated in Lima. No matter what I dreamt; even if it was school-related or even about something that was going on in NYC, it would be happening in my hometown, even if it was just a thought about some unresolved problem in New York.
During vacation I would come back to visit my family here in Peru; oddly enough, during those periods, all of my dreams were located in New York.
I assumed that it was a way my mind had come up for readjusting to the shifting back and forth among cities: it was just better, it seemed, to assume them as some sort of parallel realities, and I would live in both, at the same time, split during the day and the night.
Of course, waking up came always as a shock due to the realism of the dreams, and it was always followed by an instant of disorientation, while I tried to figure out in which city had I woke up in. After resolving it, that initial anxiety lasted some minutes, for then to continue living my day as usual, until the cycle would repeat again, later that night.
In those times, 2003, while living in NYC, I filmed myself while writing a spontaneous text (automatic writing). I called this early video piece “The scribe”:

“It as almost as we are inseminated by an unknown being that leaves us pregnant with the blurry knowledge of the idea, we conceive the piece with this being’s help -but it is our task to concrete it, to translate it, to put it into words… Like the scribe writing, we artists go through the process of receiving information, interpreting it and putting it down into paper; like the scribe, our paper is made from pieces of the world surrounding us: like a papyrus, our canvas can be anything that we chose from the world given outside our minds, from language in spoken word to images on a video.”


In 1963 the Argentinean writer, Julio Cortázar, published “Rayuela”, a book that had basically two different ways of being read: it could be read as a conventional book, from the first chapter to chapter 56, or reading chapters in the order he proposed, starting from 73, then going to the first one, then to the second, then to 116, and so on, until it ended in chapter 131. In this way he managed two write almost two books in one, since the whole meaning of each chapter changed due to the one read previously (and the ones omitted or added). In a way, it was not a static book as all the others; it was a dynamic, almost everchanging changing book.
One of the main ideas behind “Shifting Channels” is to portray a dialogue that could, at least, partially change its signification due to context (and randomization); with this I mean, depending of the sentence spoken before, the new one could have a slight or completely different meaning. Context did also influence the content of the dialogues: I did two sets of videos, one filmed in Lima, Perú (my place of birth), and another one filmed in Stockholm, Sweden, place in which I was studying; an analytic me was confronted to a motherly me in CHANNEL 1 (when situated in Lima); the dialogue of CHANNEL 2 was related to nostalgia or longing… Each of the phrases used was written when in the different countries (I had to leave my child in Perú when travelling to Sweden at that time).
The phrases are translated to point out small (or big) differences between the original and the interpreted/translated; if someone can understand all the languages, well, maybe they will be able to notice this differences… If they were only able to speak one language of the three portrayed, they would be incapable of accessing the content of at least one of the two dialogues.

I view my mind as a group of processes occurring in heterarchical strata that actively interact among each other. Although influenced by theories concerning its splitting between different levels –being consciousness or alter/pre/sub/un-consciousness, etc.- I wouldn’t choose to tag or define each layer, nor pose a defined border on when one ends and the other starts; in this case, I am interested more in the interaction between those levels, and how self-awareness of this perception/cognition stratification can lead to quite complex inner dialogues and scene-(re)construction within one’s mind (brought up in the first place by more inner/deep drives, if one is to use psychoanalytic terminology): one can split oneself there and have an argument against that alter-self that has the ability of contradict one’s point of view; one can place oneself in one scenario or another, and all of this can be done in parallel, at the same time, or in an illogical time (some dreams appear to last extensively, and one just becomes aware on how short they really have been when one wakes up). The subjective nature of space-time within the mind appears to me as if it would behave sometimes as some sort of portal, having the ability to shift back and forth in space and time when recalling a memory (“re-living”), or experience existence in a parallel universe when dreaming a vivid dream. If there are contemporary theories in physics that postulate the existence of parallel universes in which every potential action we could have made at a certain point in time is actually happening, why not assume that it is really our consciousness/self-awareness taking just one of the multiple paths, being that what we end up perceiving as present, and maybe, what we would imagine that “could happen” if a different decision would be made, is actually just a way of accessing a potential future that is coming to be a reality in one of those parallel universes?
The different layers of cognition found within the mind are represented by the so-called channels, although the whole piece has different layers of meaning as well. I chose the term channel not only for its relation to communication and television -due to the fact that, when one changes from one channel to another doesn’t mean that the original has stopped its transmission, just that we are not watching it anymore-, but also because the term refers to the intentional constrain within a certain path. Metaphorically, CHANNEL 1 and CHANNEL 2 represents the part of our thoughts we can still consciously access and modify, but the scene in which I am writing at the background, the scene originally filmed in NYC in 2003, refers to that portion of our mind we cannot freely access nor change, but that behaves just as magma moving the tectonic plates that conform our consciousness.
Barthes spoke about the “Death of the Author”. The multi-layered system I speak  of can contain both the author and the spectator, reflect society while being born from a private experience and thus, contain the author’s blueprints… I believe this ideas should not be mutually exclusive. In this sense it might go against post-modernist ideas, although my intention is to include post-modernism within a bigger framework of thought. This video, “The scribe” when placed within Shifting Channels, cannot be modified by human presence; it is defined as the constant, as the base – further layers are added upon, which are what makes thought itself and creation complex and non heterarchical, when seen under this new light – as a whole and its (blurry) subdivisions: a system in which the parts can function independently to a certain extent, that could even have a hierarchical organization for practical purposes, within the levels themselves, but not in a broader sense, that is, when seeing it from a prudent distance, as a totality. It does allow apparent contradictions, inner currents that split or crash against each other, but, as a whole, it does end up working and blending together in an almost perfect manner.

Kanobo (Los trazos del canto)

“You can either call it Complexism or Networkism…

Where imaginary landscapes of interconnected entities are the prevailing theme.”

Tatiana Plakhova

*****WINNER PROJECT OF “Prêmio Mídias Locativas Vivo arte.mov – Ecorregião Amazônica“(Brasil)******


KANOBO (The Song’s Path)

Still of newly developed Software:

First Tryout:

TEXTIAL (Thread, String, Textile, Text)


For tryout of Processing sketch click here

Tweak of http://www.openprocessing.org/sketch/34978

An interactive multisensorial installation that links Shipibo designs with sound, movement, and with contemporary theories in science & math.

Main Picture of the Installation:


I want people to be able to see through Shipibo-Conibo’s eyes while in an Ayahuasca trance, so to relate to the reality that made them to come up with ideas that, just recently, contemporary science has started to define, such as visualizing sound (in the area of digital signal processing, by reassigning color values to a sound wave, for example), the similarities of certain designs (kene) to mathematical graphics such as the Hilbert curve (Space-Filling Curve defined by David Hilbert in the 1920’s) and its link to Lindemayer systems (fractals) or Contemporary Generative Art.

As Lindenmayer (a biologist), the Shipibo observed nature, branches and roots, and incredibly finished with extremely similar designs, thus managing, without trouble, almost as a translation, their equivalents in sound, by singing the patterns, which, frecuently, are touched by their fingertips, as if they were reading them through touch.


The synesthetic phenomenon can be described as “cross-activation of brain maps”. In this case, the artist becomes an hyperconnected shaman that hyperstimulates the visitor: this multisensory interactive installation considers Kene designs as a type of fractal mapping of the Shipibo’s natural environment & spirit, for this, the person entering the space generates a pattern that replicates all over the walls of the room; the shaman-artist covers them all just as a Shipibo healer would do with a sick body, with designs that are heard as chants and ambient sounds from the rainforest in constant mutation. However, as the person is interacting more with the part, the visual pattern generated is distorted, as each movement sensed by the machine subtly randomizes values of the various ranges of conditions / parameters of the original kene, modifying it by a process that draws a link between algorithmic and Shipibo art and, that can read, symbolically, as representing the generative property of the human mind (starting with the creative act that started the modern technological revolution), which, ironically, contributes to the degeneration of the natural world.

The term Kano is one of the most complex in the Shipibo medicinal songs; it means something like “framework”.

The room is the framework in which Kene is generated upon; the person entering the room will be also immersed in recordings obtained via portable media (5.1 surround multichannel recorder) recorded in a community on the outskirts of Pucallpa (San Francisco), in Ucayali (Peru’s Amazonian province).

A computer with Software coded in Processing will be used, along with the Kinect System & 5.1 surround speakers precisely configured in the room, (sound’s output varies among them depending on position).

Some parameters of the reproduced sound (environmental sounds such as the Ikaros / shamanic songs) will be modified with the movement of the person within the premise.

The room will be covered in mirrors (in the spirit of Yayoi Kusama), and the images will be projected upon a retroprojective screen (that will serve as the main wall) from outside the space.



To develop an interactive multisensorial installation that involves movement detection, links sound and
image, and unites traditional knowledge with contemporary theories in science and math.
The idea is to achieve a deep understanding of the concepts behind Kene design (Shipibo drawn or
embroidered patterns) through/by coding, and that will involve, in turn, the study of various factors such as the
knowledge of the culture itself (its traditions), analysis of the design’s content and meaning, external influence
(syncretism), its links with matematical notions through their reflection of symmetry (as a portrayal of perfection), and the pattern’s connection with their songs (more strictly, with sound) as a proof of their long time awareness of the synesthetic experience.

This investigation will be reflected in the design of a multisensorial interactive installation based on Shipibo chants and designs.


The Song’s Path: Symmetry, Sound, and Synesthesia in Shipibo-Conibo Kené designs

The observation that “no human being is free from the tyranny of linking the inner and outer reality” (Kestenberg, 1978) raises the question of what separates and what serves as a bridge between inside and outside; between our inner world and our minds, with the environment, and the feelings and thoughts of others.

If one remembers then the “observer effect” (in physics) that states that the witness of an event will change the event itself, or that the experimenter and equipment will influence the outcome of the test, we might assume that just our existence by itself, changes the universe; if we are being-within-the-world (becoming), and this process of being relativizes, subjectivizes (so to speak) and changes the same reality that we are witnessing , then the only way to not change the reality around us and appreciate it in its “pure essence” (without the contaminants that would be our actions, in this context) would be breaking down this “bridge”, act which would unite us to everything around us and thus free us from what is making us be (The body? Our consciousness? The I?) and integrating / merging it all.

Then, our senses would become useless. These doors (bridges or windows) suddenly would become unnecessary.
This piece will be about union, but indirectly it also concerns division and discrimination; it refers to how we perceive reality (essencially, differently), but plays with synesthesia, (since the goal is to break with the limits established by our senses) to achieve an holistic experience.
Ayahuasca is considered (by most inhabitants of the rainforest) as a plant with Rao, with power and wisdom, showing those who consume a sort of “reality beyond reality,” or “True Reality” (through visions): the scaffolding that holds what we normally perceive, the energy structure that is “behind”: the designs of the Primordial Anaconda or Ronin, who were
uncovered for the first Shipibo women to see. For the Shipibo-Conibo community, it is clear that this hidden reality is not limited to what is seen or heard: you can touch and smell as well (Shipibo-Conibo constantly refer to their “perfume”), in essence being synesthetic visions: as is well known, psychotropics have synesthetic properties, and Ayahuasca seems to be no exception.

The images of this reality are aromatic; are heard and interpreted as songs, and to touch they feel like the nerv

es of the leaves, the branches of trees or their roots. The Shipibo reflect it in the fabrics and designs, they sing about this and tell stories…

They easily perceive Unity, although they are aware of the difference between each design, the personalized aspect; its style, so to speak. As we know this is just another example of the I manifesting, and yet, it does not seem to contradict with the idea of Unity in this context, of being part of something bigger.

It has been recently observed that the Shipibo designs deal with symmetry and fractal geometry, as Lindenmayer systems (formal grammar, a set of rules and symbols) are self-similar and recursive, but long before the whole fractal geometry was defined in 1968. As Lindenmayer (a biologist), the Shipibo observed nature, branches and roots, and incredibly finished with extremely similar designs, thus managing, without trouble, almost as a translation, their equivalents in sound, by singing the patterns, which, frecuently, are touched by their fingertips, as if they were reading them through touch.

The idea of the Interactive Installation is so far like this : there will be 2 projectors connected to a computer, the kinect systems and some speakers. The projector will point to one wall of the room and the other over the installed furniture. The person enters the space (in darkness, only lit by the shiny patterns, the “Pathway of Stars”, as Shipibo calls their white designs over black backgrounds), and this entry triggers a process that generate a pattern different from the person who came before it (the images being projected on the walls of this space), its movement triggers and modifies a series of songs  that rely on the background pattern that is appearing at that time in the projection.

Each design is linked to a particular song, and each person will have their personal design. There is a background noise which is the fascinating sound of the rainforest at dawn or dusk – it cannot be replicated with words or a simple recording, so a multichannel field recording in the Ucayali region in Peru was made, to be able to be replicated with as much realism as possible (with speakers strategically situated in the space where the installation is presented, to replicate it with 3d spatial qualities), for to immerse the person interacting in the piece.

The chants have been recorded in situ as well; for anyone having gone through the Ayahuasca trance, the extreme importance of the singing is crystal-clear: the ”rope of the dead”, the Ayahuasca mix, is very strong and can be a scary experience… The only thing that mantains you in contact with reality is the hearing of the repetitive singing, the voice of the shaman, just as a metronome marking our breath; without it one can loose the grip of the ”rope of the dead” (one of the components of Ayahuasca is a climbing plant) and be lost in darkness.

Turning music into perfume


What if, more than the actual advancement of thought in the western world, it is just another system that, in                                                                                                                               the end, will state the same but in different words? If, more than discovering, Scientific thought and its offsprings are simply re-inventing?

Made in Processing

How the space will look like Made in Processing













































Maybe the assumed schism among these two type of thoughts is not so; maybe, at the core, they are not as
different, since it is possible that observation (of nature and natural events) takes us to the same conclusions when trying to explain (and define) perceived reality; it could be that we all differ only on the symbols used, the coding; the way these conclusions are “portrayed”, so to speak.

It is undeniable that this shamanic-based cosmovision posses knowledge that we could not only take advantage of – not exploiting but through respecting, admiring, assimilating, and incorporating. The Shipibo-Conibo assume all what-is-perceived as some sort of continuum, just as recent scientifical theories are starting to treat information coming from (being?) the universe we are all part of; just as varied waveforms, vibrations in varied rhythms.

Traditionally, for the Shipibo-Conibo (and many other human groups from the Selva) this information (colors, sounds, smells, etc) can be perceived indistinctively by any sense when on trance (just as the quite recent concept of Synaesthesia attempts to define), as if the original data would (could) be just (re)shaped, (re)structured; reorganized into a different pattern in such a way that can still evoke what originated it, still being able to refer to what initially triggered it i.e. smell the chants while in a ritualistic ayahuasca-drinking ceremony.

As it turns out, in the Shipibo-Conibo world, harmonies can easily turn into perfumes while still being music; the possibility of linking their traditions with Digital Signal Processing and advanced concepts in mathematics and geometry would eventually make us able to see a parallel between their designs and current ideas found in theories behind Generative Art.


En Castellano (Spanish)

Sea porque se quiere saber mas de su mística -generalmente relacionada a la toma del Ayahuasca, la “medicina”, la soga de los muertos-,  o por sus bellos diseños, las búsquedas sobre temas relacionados a la Amazonía Peruana se han incrementado en los últimos años. Es debido, quizás, a la particular manera que tienen de decorar sus textiles, ceramios, o cuerpos, que el interés reside ahora, mayormente, en la comunidad Shipiba. Sus diseños sorprenden por su avanzada geometría.

Son varios los artículos que se encuentran en linea sobre los diseños llamados kene, algunos llegando a hacer un paralelo entre estos diseños y ciertas nociones de la matemática moderna, (por ejemplo, entre La Curva de Hilbert y los referidos patrones). Menos conocido es, quizás, el hecho de que los diseños son descritos como proviniendo de una suerte de visión que se recibe de manera sinestésica: no solo se pueden visualizar, sino oler o escuchar, tambien teniendo efectos curativos (para el shaman, ver “patrones armoniosos, fragantes y coloridos” en la ceremonia es simbolo de buena salud).

El fenómeno sinestésico se describe como la “activación cruzada de mapas cerebrales” (Ramachandran, 2004), que ya sea “por defecto o desinhibición”, deviene en una “hiperconectividad”. En este sentido, el artista seria un shaman hiperconectado e hipersensibilizador: la instalación interactiva multisensorial actualmente en proceso considera a los diseños Kene como una suerte de mapeo fractal de la realidad Shipiba y su entorno natural (el exterior y el espíritu), que no se remitiría solo al ámbito visual; la persona entrando al espacio genera un patrón kene que se replica por las paredes de la habitación aromatizada, que el shaman-artista cubre, cual cuerpo de enfermo, con los diseños que se escuchan como cantos y sonidos ambientales de la selva en constante mutación. Sin embargo, conforme la persona va interactuando mas con la pieza, el patrón visual generado (mediante dos algoritmos: uno para el diseño grande, y otro para el pequeño) se va distorsionando; en este sentido, se experimentara con la degeneración de los diseños en si, ya que cada movimiento sensado por la maquina randomiza sutilmente valores de los diversos rangos de las propiedades/parámetros del kene original, modificándolo por medio de un proceso que traza un vinculo entre el arte de las comunidades Amazónicas y las artes algorítmicas, pudiendo leerse, de manera simbólica, como representando la propiedad generativa de la mente humana (empezando por el acto creativo que devino en la revolución tecnológica contemporánea), la cual, de manera irónica, contribuye a la degeneración del mundo natural.

Sin embargo, ni bien otra persona entra al recinto, tal como en el Kené -que cambia cada vez que se traza-, se genera un nuevo patrón, listo para ser degenerado por medio de la interacción con quien se encuentre allí.

Idóneamente, la presentación seria en un espacio cerrado, si bien se podría implementar para un espacio publico (a mas alto costo). Se utilizara una computadora, una arduino, un sensor de movimiento y una cámara web, parlantes para reproducir surround 5.1 configurados de manera precisa en la sala, pues el sonido ira variando su posición; saliendo de manera diferente de un parlante a otro, dependiendo donde este la persona. Algunos parámetros del sonido reproducido (conformado tanto por sonidos ambientales como por los Ikaros/cantos shamánicos), serán modificados con el movimiento de la persona en el recinto.

En “La corona de la inspiración”, Barbec y Mori (2007) definen al termino Kano como uno de los más complejos en las canciones medicinales Shipibo. Según ellos, significa algo como “marco” (…); también se puede referir además de la medicina, a la armadura de la casa, al camino donde la corriente del río es más fuerte, y, (…) a los marcos (rectilíneos) alrededor de kené. Es usualmente traducida como “canoa”, y, en el contexto medicinal se refiere al “camino, mundo, paisaje, atmósfera” en los cuales se puedan encontrar el cantante médico, su paciente, o sea quien sea. Es así que el concepto de Kano recubre a la habitación por medios artificiales (visuales generados por computadora, sonidos modificados por esta); la persona entrando al ambiente es sumergida en grabaciones obtenidas a través de medios portátiles (grabadora multicanal 5.1 surround) registrados en una comunidad en las afueras de Pucallpa (San Francisco), en Ucayali (provincia Amazónica del Perú) mientras el cuarto emana fragancias de esta Selva (aceite de copaiba mezclado con diferentes esencias aromáticas), recolectada en el mismo lugar, siendo llevadas a la locación en donde se presentara la obra, para ser colocada en recipientes en la esquina del espacio, gradualmente liberando su perfume.

Cada “nivel” de los diseños sobrepuestos es generado en base a una cuadricula a escalas diferentes (en total, dos). Estas cubrirán (por medio de una proyección de vídeo) dos paredes adyacentes del recinto, mientras las otras paredes restantes serán recubiertas con espejos (que reflejen los patrones).

Para Patrick Ireland, (1998) la cuadricula es “indicativa de todo lo que es racional, aunque es tan loca como muchas cosas lógicas resultan ser -. Artificial, histérica, subsumiendo su propia versión del caos. Es rígida pero flexible, (…) plana, con imitaciones de profundidad, democrática al hablar del espacio aunque realmente absolutista, estampada con rigidez, pero alerta al virtuosismo de la permutación. Es un recipiente que contiene a sí mismo, que es a la vez forma y contenido.” En este sentido, estas paredes se curan y devienen en Kanobo (-bo implica pluralidad en Shipibo) convirtiéndose tanto en recipientes como en los contenidos (multiplicidad/metamorfosis de diseños) tal como el cuerpo de enfermo, que, al ser pintado con patrones, es curado en cuerpo y alma.


La inacción (entendida como la falta de movimiento en el espacio) estancaría el proceso degenerativo.

De no entrar nadie, la habitación queda a oscuras (pero no en silencio).

Necesidades técnicas del trabajo :

Hasta ahora se ha avanzado con la investigación concerniente a la cosmovisión Shipiba y al diseño en particular (viaje a la localidad de Ucayali el 24 de Febrero). También se esta trabajando en lenguaje de programación Processing, y se ha definido el algoritmo de la curva de Hilbert(1), a saber,

axiom “LR”;

linden production * L * +RF-LFL-FR+ * R * -LF+RFR+FL-*;

linden ignore C;

turtle reset;

turtle angle 90;

turtle scale 5;

turtle origin 640 250

(1)   En max msp/jitter, (www.cycling.com) basado en LOGO


El programa desarrollado estará dividido en tres partes: una, manejando la parte Sonora; otra, la parte Visual, mientras que una tercera les distribuye la información que viene de parte de los sensores (movimiento/infrarrojo y cámara web); el primer sensor colocado en la parte superior del marco de la entrada (al recinto), alertando al programa ni bien alguien entre para que se genere otro diseño. La parte Sonora constara, a su vez, de otras dos partes: una, aquella que lidie con la reproducción de la voz del shaman en una ceremonia de Ayahuasca (grabado in situ), y, otra, con el sonido ambiental de la Selva (cuya salida por los parlantes cambia cada vez que la persona se mueve). El sistema surround de la grabadora a utilizarse (Zoom) facilitara mapear el aspecto locacional del sonido para poder ser reproducido adecuadamente dentro del recinto. La cámara web se colocara de tal manera que permita al programa utilizar “el centro de gravedad” de esta como si fuese un mouse, haciendo, en esencia, lo que el patch de SoundplayerExample ya hace, por ejemplo, continuamente controlar la velocidad del sampleado mientras el mouse (la persona) se encuentre en la región de los “beats”:

void testApp::mouseDragged(int x, int y, int button){

            float widthStep = ofGetWidth() / 3.0f;

            if (x >= widthStep && x < widthStep*2){

                        beats.setSpeed( 0.5f + ((float)(ofGetHeight() – y) / (float)ofGetHeight())*1.0f);


En total se necesitan (1) cámara web, (1) computadora con una buena tarjeta de vídeo (apropiada para Opengl) y procesador i5, parlantes para reproducción de sistema surround, y (1) proyector.

Con respecto a la instalación, se necesitan cubrir las paredes completamente con espejo (de una habitación de tamaño medio), para así reflejar en ellas los patrones.