There is no coming to consciousness without pain. people will do anything, no matter how absurd, in order to avoid facing their own soul. One does not become enlightened by imagining figures of light, but by making the darkness conscious. C. Jung
Reality is built out of thought, and our every thought begins to create reality – E. Cayce
For this new work, Belfiore is playing with the idea of light installations and projections. Belfiore creates psychedelic installations and plays with constructed atmospheres by projecting colors, live recording, images for green screen and animations. Projections are the presentation of an image on a surface, for example on a cinema screen or a mental image viewed as reality. But projections are also an estimate or forecast of a future situation based on a study of present trends. Manipulating image, sounds and objects live and on the video, Belfiore layers the virtual and investigates constructed realities, and questioning on the screen world we are living in.
As a Live Dj for his own dance Belfiore ‘vaporwaves” the theatrical space. The subculture surrounding vaporwave is often associated with an ambiguous or satirical take on consumer capitalism and popular culture and tends to be characterized by a nostalgic or surrealist engagement with the popular entertainment, technology and advertising of previous decades which Belfiore bring to question our own times. Belfiore is also inspired time by the documentary ‘Cave of Forgotten Dreams’ by Werner Herzog (2013) and the allegory of Plato’s cave. Belfiore dives deep into his unconsciousness to reveal his wild creativity and inquietudes of human conditions into his (hand)made universes.
Belfiore dives deep into his unconsciousness to reveal his wild creativity and inquietudes of human conditions into his (hand)made universes.
Concept, Choreography and Performance Fernando Belfiore Outside Eye Charlot Van der Meer and Vincent Riebeek Light, Video, Sound and Text Fernando Belfiore Video Effect Jeremy From AlexEtJeremy Craft Maaike Fransen Creation support by Residencies of Beam Lab, Dansmakers with thanks to Suzy Blok, Moving Futures and EAD with thanks to José Fernando Peixoto de Azevedo Production Dansmakers Amsterdam and DANSCO Photography Courtesy: Pierre balling, Thomas Lenden, PaulMcGee and Thiemi Higashi
26 January De NWE Vorst Tilburg
7th February Kikker, Utrecht
17th February Grandtheater, Groningen
6th March Stadtheater, Mainz
31st March Dansmakers Amsterdam
21 July Garage Museum of Contemporary Art, Moscow (RU)
Photo Above : Garage Museum of Contemporary Art, Moscow (RU)
Further dates and tour will be planned, residence and more support are welcome.
During Beamers Laboratory/Residence that I took part last year before summer at Dansmakers in Amsterdam, I had the opportunity to get in contact with a fruitful environment that inspired me to make a solo. I decided that this found starting point would be very interesting to develop into a solo installation performance, a very visual experience, and the body is affected by many devices. I start up with the idea of light installation in a DIY mode where I take care of sound, editing, lighting, performing and I run the performance from the stage.
I am using 3 projectors in this work that also composes the lights for the performance and presents a new cave for me, of the body being inserted in an intense world of simulations. I start from the back with a live camera that multiplies the image into infinite ones at the song of “Let’s Dance”. When I watched this video clip from I was completely touched by its message and the cave also has a questioning on consumerism. It is anyhow a happy welcoming song where I also let my part of my butt exposed since I am dancing front to the video. On my t-shirt is a monkey image. After, the song I lay an egg which is visible huge on the screen. I turn front and I eat the egg. I have a text that I wrote that is playfully delivered to the audience but intend to give food for thought but not to explain or illustrate the following scenes. After that, I play the main video that is supposed to be back wall size and a sequence of action in space with paints, a bow, and arch, a coca-cola bottle, styrofoam, a camping tent, a small running on battery dinosaur, for example. The objects are manipulated and the devices affecting and acting upon the body the changes. The space and the environment go to a theatrical climax. Image and imagination are tight bonds together. I end up with wings standing in the middle of the audience but completely transformed. We go to the dark and that is the moment I still would like to explore further with sound and physicality. The work now has 30 minutes but I believe it has potential to be a full-length experience. A complete journey where the audience can not only be surprised by the images and be affected by the creative but has time enough to digest the journey. And the performance can take time to explore the subject properly.
Photography above by Pierre Ballings
SCREENS PROJECTIONS SIMULATIONS
HOW CAN WE ACQUIRE KNOWLEDGE OF THE FORMS?© Michael Lacewing
Those people in Plato’s republic who eventually acquire knowledge of the Forms are those guardians who become philosophers. The guardians are trained in arithmetic, geometry and astronomy to bring them to dianoia. But to achieve noésis, the guardians must be additionally trained in dialectic, or philosophical argument. For further discussion of this argument, see the handout on ‘Plato’s similes of the Cave and the Divided Line’.
Plato argues that to gain knowledge of the Forms, a person must be ‘re-oriented’, away from being concerned and caught up in the world of the senses: ‘the mind as a whole must be turned away from the world of change until its eye can bear to look straight at reality, and at the brightest of all realities which is what we call the good’ (518c). The final step in the philosophers’ education is not so much about imparting knowledge, and but turning the mind towards the Forms. However, the question still remains how dialectic leads to an understanding of the Forms.
In fact, Plato doesn’t say. One theory is that, as shown in Plato’s The Republic and other dialogues, dialectic establishes both the existence and the nature of the Forms. Another relates to the fact that the Forms are ‘one-over-many’. A Form is unitary and simple, but many particular things can participate in it. There is only one Form of Beauty, but many things can be beautiful. Mathematics helps us to understand the idea of ‘one-over-many’, and helps us understand how the ‘one’ is the real essence that the many share in. For example, mathematics establishes the necessary properties that all triangles must have in
common. And all existing triangles are triangles because they share the essential properties of the Form of the Triangle. Dialectic helps us understand this more generally, or abstractly, because it searches for a unifying account of each and every thing. Dialectic asks ‘what is justice?’ or ‘what is courage?’, and so we think about the abstract ideas, the Forms, of justice and courage.
METAPHYSICS OF THE FORMS
In arguing that Forms exist independently of the particular things that ‘participate in’ them, Plato constructed an original and controversial metaphysics (one that Aristotle, for example, rejected). Plato discusses several essential properties of the Forms:
Independence from particulars
carl sagan 34:00 13
“Look again at that dot. That’s here. That’s home. That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every “superstar,” every “supreme leader,” every saint and sinner in the history of our species lived there-on a mote of dust suspended in a sunbeam.
The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot.
Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.
The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.
It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we’ve ever known.”
-Are you saying that your attempt to understand the fundamental operations of nature lead you to a set of equations that are indistinguishable from the equations that drive search engines and browsers on our computers
-Yeah that is correct
I SHOULD DIE SYMBOLICALLY EVERYDAY
Photography above courtesy by Thomas Lenden
Photography above courtesy by Paul mcGee
Photos above, courtesy by Thiemi Higashi