gabriel francisco lemos
Guerra Não Linear, 2019
Aug.2019 - Ø |Exhibition Somos Muit+s |Pinacoteca do Estado de São Paulo - Brazil
Ø consists of a durational sound performance that uses electronic guitar and pedals as medium for emphasizing acoustic properties of the museum space.
ÁGORA, 2019
Ø, 2019
BINAH, 2016
Posludio, 2018
Bloco Ruído, 2015 - 2020
Chance Street, 2017
The Bitter Plums of Chelsea Manning, 2017
Projeto Radiofônico, 2015
Fogos, Vozes e Vidros, 2017
O Humanismo é uma máquina interrompida, 2017
About
DOOLLI
CV
Portfolio
sinestesia_computacional, 2020
nhonhô, 2020 (PT)
espaço latente, 2021
nhonhô, 2021 (ENG)
o_riso, 2022
Aindassim Rimos, 2022
Plasticophagus Edulis, 2022
Soundscape
Botannica Tirannica, 2022
re_plica vocalis, 2022
Commissioned by the Spaceship Ensemble and the Gaudeamus Festival in 2022, this short composition written for extended piano, harp, accordion, harpsichord, viola, marimba and clarinete is a work inspired by Gerard 't Hooft's futuristic animals. Trying to mimic the molecular structure of plastic being dissolved by the Plasticophagus Edulis, this composition is an experiment on fast rhythmic patterns and contrasting cut-up gestures and long sonic resonances.
works
yet we laugh is a lecture performance in which a narrator tries to explain what laughter and humor could mean to human beings. Based on text and sound, the project is an hybrid 45 minutes piece that invites audiences to reflect on humor's complex embodied and cultural phenomena, as well as witness the learning process of a machine attempting to laugh. The research in which the performance is based concerns laughter's effect on psychology and how performed theory can comment on the entanglement between humans, sound, language, objects and technology.