Desencuentro is proposed as a transdisciplinary work or expanded performance that dialogues with the virtual and non-virtual possibilities of artistic production. All sensitive stimuli appear here as an input for artistic work and challenge compositional work.

This project was carried out in collaboration with the composer and sound artist Gabriela Yaya, and is preceded by another collaborative work presented at Experimentalia 4º (2014) called “Ensayo 0”.

Both works have as a common denominator the encounter of the sound with the visual. In Desencuentro, one more element was added, the stage and performance space.

Work presented at Platforma 21 – Teatro San Martín.

Year: 2016

Essay (fragment)


Resume Sound/Visual dialogue, include scenic space.

From the conception, Disencuentro was literally that, the impossibility of meeting for a regular job, it did not coincide spatially and temporally for the development of the work. Far from being an impediment, we also take advantage of the situation as a compositional idea.


The sound and visual are fragmented in time and space.

Simultaneous spatial and temporal fragmentation. Like the sound, the deferred visual record coexists with the live visual.


Previous materials / Live materials / Performer instrumentalist.

To link the sound and visual aspect in the space, an instrumentalist was thought of. The instrumentalist was interacting with the previously generated images, to later be recorded in different spaces, closed and open.

Circularity and comments

Visual/Recorded – Visual live Sound/Recorded – Sound live.

The development then took place in the form of constant feedback, the material was going to be revealed from the previous one, the images were interpreted by the sound, and the sound by the images and by the instrumentalist.

Compositional Operations

The record as a database, the intervention of visual and sound records from processes of rupture and destruction, and aesthetic searches from noise, glitch, loop.

  • – Temporary break -> video records – live performance
  • – Breaking of materials -> Iterations, recurrences, loops, fragmentations, noise, glitch
  • – Spatial rupture -> screen division – Space outside the theater (registration)

The resolution of the scenic space was adapted to the place with a classic Italian theater format. It was configured in three focal or attention points:

  • -Center display
  • – Right screen
  • – Instrumental interpreter left

The materials circulated between these supports as a dialogue.

Stage as support and Body as space

Instrumentalist/Performer as a compositional element within the staging configuration and as a space.


Beyond the techniques used, the compositional methods and supports, we find space as a great unifier. Both physical and virtual space end up being, in many cases, one of the important factors of artistic discourse. The technologies used function as discourse articulators.