2015, Graphite, paper and photocopies 6 channel Instalation , 6 Librettos and FullHD color Projection (Excerpt: https://vimeo.com/182909467/b1846049c6)
G.F.B.R.L.W.W.V.H.C.W.M.J.L.A.M.B. is an audiovisual composition of 5449 seconds, in which the sound and the movement are not played simultaneously. This composition is a result of multiple transformations of a lineal prime
number ́s serie, which is written by hand along three librettos. Each of them has 14 pages and fixed durations of 3 ́3 ́ ́, 3 ́7 ́ ́and 3 ́9 ́ ́.
The librettos are individually interpreted by three musicians and afterwards by three dancers. The libretto I was assigned to Silvia Carrera Hondal (piano) and Yuya Fujinami (dancer), the libretto II to Nora Krahl (cello) and Gustavo Gomes (dancer), the libretto III to Miako Klein (violin) and Konstantinos Kranidiotis (dancer). Each interpreter created a personal system to translate the numerical serie into their own discipline. The musicians made annotations and drew boundaries on the scores, which were graphically experienced by the dancers. The dancer experienced the musical transformations soundlessly to define their choreographies, they noted down and limited their libretto as well.
The sound of the 6 musical and choreographical transformations were made in different time and recorded in two different kind of accoustic space. The sounds the musicians produced were recorded in a music studio, the audio of the dancers were recorded in a dance studio and both are played independently by 6 speakers. The process finishes with a video of the dancers while they were improvising and listening to the music for first time.
The composition of the all transformations it is structured attending to the first 21 numbers of the prime number’s serie as seconds of silence, as to posible combinations in which the elements repeat themself democratically through 7 passages, each of them ends with a video.
The passage I corresponds to a general impression of all the elements of the composition, the rest of the passages focus in the interpretations of one libretto in relation to the others: the passages II and III are linked to libretto I, passages IV and V with libretto II and pas- sages VI y VII with libretto III.
G.F.B.R.L.W.W.V.H.C.W.M. J.L.A.M.B. researchs the possibility of creating an own language, open, postdiscipline and undecoded throuhg 7 personal impulses. The capital letters of the title refer to people who contributed to philosophy of language.