interactive installation

the work deals with the shyness and its impact on both the shy person and on those around him. the shy guy in this case is a machine that is inside a room with low light. he sings and produces images, but only while there’s no one near.

when someone enters the room, these sounds and images become increasingly less amplified – according to the proximity of the person in relation to the machine – until they stop completely. thus, the viewer can only see and hear what the machine is doing if he is away from it.




through a specific program, the visitors variation of movement is linked to his distance from the object. If there is a sudden position change, the object reduces his speech drastically. but if this variation is very subtle, that is, if the person is approaching very slowly so that the changes in his position are not perceived, it can get closer to the machine and see and hear a little more clearly what it says .

while it has a certain “fear” of people entering the room, the object (or subject, in this case) is also influenced by them. the music (or the sounds) it produces are based on data records of the visitors movements. the colors generated by the LEDs positioned within the ball, controlled from mathematical formulas, also follow this logic.

for example, sudden movements become warm colors and sounds. this creates a relationship of necessity between both machine and public, which also happens in the real world. the timid cannot get along well with people around him, but almost always hears them. the opposite however is not true and that is transmitted in the work by the fact that the visitor (almost) never can hear well the machine’s “voice”.

extrapolating the limits of the shyness concept, the work also suggests other questions like the excessive value given to an object (and the artist who created it) when it reaches the ‘status’ of art. in this work, the spectacle only happens when the public is not around.

it also deals with the question of what happens when we are not ‘there’. in this case reversed, since the machine only ‘works’ in its fullness when the viewer is not present (or if he stays still for some time). the installation can also generate feelings of frustration and occasionally anger by the visitor, because he cannot see the work functioning. these feelings very welcome, since they move the public from the passive posture in which they live ‘their’ day-to-day.



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