Keywords: VJ, Manipulated live images, Space, Audiovisual Score

In this article we are going to discuss the projection of manipulated live images which double as audiovisual scores. Scintillations would be: figurative and graphic images, people dancing under strobe lights. At night, in nightclubs, raves and malls, the distribution of screens and the excess of colored lights create experience/space, stimuli/space, create projections/space. The space stimuli presented here promote an immersive experience which approximates other image/space devices, such as the environments found in videogames and interactive virtual reality. On the other hand, they also pull them further apart as they are made up of image/light, of sparkling figurative images or not, in sum, for being structured as audiovisual scores.

We are some kind of half-time show.
Fernando Pessoa

Names: Lineage and Process

VJ. An acronym for a variety of names. Unfolded, it remits to poetic paths of expressions. VJs have defined themselves through their work itself and found concepts for Vjing, putting into play different ways of creating, of producing representations. The search for their representations extrapolates comforting classificatory exercises, and deals with the poetry of Vjing as seen by Umberto Eco as a shoot off of Paul Valéry, or in other words, poetic inception implies in the “analysis of the work’s structure, so that you can deduce from the way that the work is done the method in which it wanted to be carried out” (1971:24). Attempts of coining the term brings about underlying problems on the nature and diversity of expressive potentialities of live manipulation cultures, be them accompanied or not by sound. VJ: video-jockey, visual-jockey or video-jam? Depends on the VJ and the place, but it will always be jamming.
The names bear the implicit understanding of what this artistic activity is and traces structural elements of the proximity between expressive means and urban culture. The abbreviation was born in the 80’s to designate MTV anchors. This lineage does not relate to the work of the VJs we are looking at in this text, but is interesting as a curiosity. The MTV VJs worked for a young people’s music television channel, “our” VJs play images for DJs, with DJs or in counter-time with DJs. Images and music here overlap. VJs working with the production of images in electronic scenarios can be identified with DJs and television as they take place live and are improvised, but are different in that they work behind screens and computers. Differently from MTV’s VJs, they do not offer their personal image, but propose landscape images or images of concept associations. (Será que aqui não cabe algo como jogo. É que está implícito o jogo entre as imagens criando conceitos)
The name video jockey for those professionally working the dance floor relates to disc jockeys. While the VJs play images previously ordered in sequence in computers, DJs organize their work using records and CDs. VJ’s videos count on a support, the video, of course. In the 90s, dance floors used video tapes. Today, images can come directly from the computer or even DVDs themselves. The DVD was initially, a technological substitute for video, its similar in poetic terms. Today, Pioneer’s DVD-J allows for live manipulation of images with distortions created through “scratches” (the same procedure used by DJs) and non-linear access to images. The DVD-Js and computers allow for timing to be controlled by the VJs. Distinct times and rhythm are then created from the same material. We will not linger on how the construction of temporality comes to propose different meanings as this will be the subject of another article.[1] What we are interested in retaining at the moment is that Vjing, within the electronic scenario, a young realization for young people, has a short history marked by the technique’s inscription in a poetic context.
Today, the name “visual jockey” is usually associated by those in the métier with a specific quality of projections where abstract images presented in an accelerated rhythm predominate, or in other words, a flux of images which sparkle in speed. If we amplify visual notions in general, we will be able to better understand a VJ’s activity. Visual has to do with seeing, to the visible, including figurative and abstract images, produced upon an algorithm base without any external material or recorded reference. Visual can be also image/light, image/landscape or a micro-narrative constructed through associations. In this perspective the acronym reaffirms its bonds to the electronic scenario, but is not to be used strictly bound to a support, but to an object produced by the VJ, images, in sum.
Outside Brazil the names Visual Performer and Visual Jammer are commonly used. The latter title relating once again to the overlapping between music and image. The sonorous/visual interpenetration when thinking of “jam, jamming or jammer”[2] qualifies the VJ’s poetry. The jam sessions, as is very well understood by the fans of this kind of music, are jazz shows based on improvisation, and jamming is the moment in which they improvise. Jamming relates to this characteristic in the events with VJ’s, improvisation, live. In this article we do not intend to get into improvisation, I have mentioned it as a reminder of this poetic manifestation, of live poetic manifestations,[3] in the VJ’s work. In summary, VJ’s activities relate to the manipulation of fixed or moving images, figurative or abstract, which are presented in art galleries, in raves, at parties or discotheques, based on the improvisations coming from a previously selected image bank. These images, independent of their technical origin, exist accompanied by music. Accompany or are accompanied? Both, as we will see shortly.
Experiences with the projection and manipulation of images are not something confined to current events. On the contrary, in the history of cinematographic vanguard, as revealed by Peter Weibel, Gene Youngblood and other authors, work done with multiple projections are not unusual. Yoko Ono, Laurie Anderson and the concerts given by the Vortex Group carried out experiments with multiple screens in the sixties, as well as experimenting with the division of screens. Gregory Markoupoulos created multiple projections with different films experimenting with breaking with the central perspective as an alternative mode of narration. (Weibel. 2003:117). The couple Steina and Woody Vasulka, besides exploring space with diverse projections, touched on the VJ’s poetic sphere by working live. They create sounds and images which are channeled through synthesizers. To not make the mentioning of these works a tiring and extensive citation I will mention, in conclusion, that experiences like the panoramas in the XVII and XVIII century, or even diverse vanguards in the 20’s including artists such as Lásló Moholy-Nagy who developed a poetic sphere similar to that of the VJs. By breaking down the fourth wall in Italian theater they create multiple projections impossible to be visualized with only one glance, or in other words, with more than one hundred and eighty degrees with some of their performances being live. The proximity between poetic spheres of the aforementioned experiences and that of the VJs does not annul particularities in the nature of these means of expression. Electronic culture, experimental environments and images in relation with sounds and techniques of their visual materiality guarantee poetic characteristics to the VJ’s work which deserve to be explored.

A few pacts

Space/time, projection and experiential: sentient[4] and feeling, visible and visionary are part of the experience. Parties, multi-sensorial nights. Spaces as something which demarcates the between, exists here with material visualization. The space between is visually perceptive, and is usually white, due to the large amount of smoke, resulting either from cigarette or stage smoke. Smoke is a resource widely used in theater and cinema to materialize light, it diffuses the light, forcing its ray to occupy the environment, providing it with density. Well dosed, smoke is an ally for constructing a scenario, to give space volume and weight, to diffuse people and objects, modify standards of distance, as one losses the depth of field through it. Smoke, lights, projections and sounds create a party’s environment, an environment which involves and stimulates spectators, reduces space by limiting fields of vision, creating a circumscriptive environment even if there are hundreds of people in the room, and thus produces a sort of smoke screen .  It is an elemental environment and one that creates pacts with the audience.
Delving into a fiction book, a film, an exhibition, a videogame or piece of interactive art presupposes a few pacts. Some prioritize illusionistic aspects, others physical and intellectual manipulation, others revolve around strictly comprehensive aspects. There are still others which propose and promote feedback between structural intellectual games and illusionistic fruition. The elements which structure this pact in books are represented by the plot and/or language. Some readers abandon themselves to this proposed world, their immersion/plunge into the story, passing through the acceptance of a pact constituted through the concentration of their senses in the narrative. In this sense, the immersible property of a text is one of the intrinsic elements of its composition.[5]
Murray and Grau do not let us forget that becoming immersed is a secular experience. Murray uses literature, especially Don Quixote by Cervantes as an example of how a novel can involve a reader’s senses, placing him in a representational world as if immersed. Grau, in his Virtual Art: From Illusion to Immersion (2003), gives us examples of immersing environments, of illusionistic environments experienced throughout the ages, both collectively or individually. Oliver Grau radically assigns immersion with a key role in understanding the development of media. His favorite subject is man’s relation to images (2003: 5), a relation which reveals a situation’s senses through representations, or in that which interests us, through constituting its presence (2003: 14), or better put, immersion operates between illusion and external critical references (2003: 9). [6]
Thus, the means molds our perception and is molded by it as well. In a double-handed crossroads relation, space exists in function of how we perceive it and how our perception is built by it, or, directed by it. Spaces are a “product of complex mental processes” (Anders 2003:48) or a “mental construction which conditions our relation with the world” (Anders 2003:49). Space is a result of a mental elaboration and today we may materially experiment with immaterial spaces and space/images. These are not physical landscapes as seen in Benjamin, cartography cohabits with iconography, the presence of senses presents itself visually. A VJ’s iconography is not always narrative.
Cinema, principally the kind that targets large audiences, is masterful in creating illusionistic narratives whose impact runs through the elaboration of the plot following expressive cinematographic techniques and resources. Video-installations and various other performatic pieces are artistic manifestations holding pacts similar to that which the VJs promote. These pacts pass through the inclusion of extra-field spaces in its poetic content. This does not mean inclusions in narrative terms, or in other words, events pertaining to a narrative order of elements are not solicited. We are dealing with temporal material spaces which create a situation for the perception of sense and so constitute two crucial aspects of poetic content, the disposition of the screens, the number of spectators and the quantity of lights and sounds constitute the object in face of the spatial formalization of the events.
The disposition and size of the screens is not always enough to constitute a space for immersion, most of all in Brazilian events produced and sponsored by alcoholic and energetic beverage companies. The Italian stage still predominates, with the audience turned towards one sole direction. A triptych may be found on stage, or a central screen bordered by small TVs, or even stage sets structured in different forms, as seen in the screen used in the Skol Beats[7] in 2004 which imitated a glacier, but single-directed projections still predominate. In these cases smoke, strobe lights and colored lights provide the environment with immersion which could have been attained with the screens as well, maximizing the role played by the projectors in the collection of elements used to create the space.
In Brazil, only few artistic institutions, such as galleries and electronic art festivals, count on VJs. But the investments in projectors is still modest in terms of quantity, quality and potency. The most complete proposal was organized in 2002 by Luiz Duva, Fabiana Prado and Tatiana Lohmann. It was the first and only Brazilian VJ festival, the RedBull Live Images. This event gives us a good example of ideal working conditions because of the way it was set up. The pioneers of the genre in Brazil all participated: from São Paulo VJs Spetto, Aléxis, Palumbo, Duva, Raimo and collective Bijari and Embolex; from Rio de Janeiro, Lucas Margutti, Jodele Larcher, and from Minas Gerais the collective FAQ.[8]
There were nine projectors in a warehouse projecting their images on different sized screens, the audience standing around them. There were three environments with visual and physical inter-communication. When walking or dancing, whole screens and/or portions of screens were able to be seen. The size of the screens and portions of images one was able to see depended on the observers position. If the spectator was standing in the central “room”, they would find themselves circled by four square screens. The room had two passageways to other environments. From the narrowest, one could see a large screen and from the other, wider, there were screens disposed vertically in such a way as to form a sort of tower. Further ahead, at ninety degrees, on a wall a little ways off, a large screen covered the whole wall.
The constant stimulation of the projector lights, music, the scintillating images and the crowds of people walking around created a dispersive and visually stimulating environment. The images being projected vied with all these elements, but as there were a large number of screens and, as we have already said, with varying sizes, they were always within eyesight, with something being shown in any direction. In parties, in general, images are not solely imposed in function of that which they show. They sometimes draw sufficient attention to the point of provoking reactions from the audience,[9] due to their rhythm and stimulation, both because of their speed of being manipulated and the nature of the image.
The space was consolidated, took on the specific characteristics of the VJ who was giving the presentation. The nature of his work, the colors, his creative proposition created the environment, soliciting a determined spatial movement in function of the projection’s proposal. And so, the physical space in which the people were standing and the projections, and the projection’s space itself, namely the screens, were to be seen in the image content, alternating the privileged perspective in the presentation. This was a result both of the image’s velocity, as well as the colors used and the relation of the contents between the screens. An image passes, so quickly – it is hard to affirm its function, its contour, at a first glance – and then returns associated with another image, now remaining a little longer, but still so, escapes, somebody walked by, the smoke diffused it. The lack of the image, of that special image and its sequential companion begins to function as a sort of solicitation to the sight.
At the Live Images Festival the manner in which the screens were visualized created a composition in such a way as to keep one whole screen and portions of others within our field of vision. The portions were as if details, an amplification of the whole. The size of the screen alters our perception of movement, on larger screens movement seems slower. In this case, images were manipulated at the same speed which, due to the screen’s size, provoked distinct temporalities. The effect is strange to our sensations and the evolution time of the images impresses varied temporal and intensity of feelings to the sound and image. The size and spatial location of the images alters its strength and mildness and creates a further dialogue brought about by the time inscribed to the multiplication of the images on different screens.
Luiz Duva, in his work Vermelho Sangue[10] ( Blood Red), the variation on the succession of the images generated different intensities of violence and affection. There was even an intriguing juxtaposition of images. The scene being projected was the same, as well as the situation presented on each screen. Cuts and fusions were synchronic, but seemed to be different, with distinct movements of time. Repetition was no longer perceived as redundant, few elements and colors produced visual shocks and appeared differently. Sensations and ideas on the situation were aggregated to the scene being projected as a function of repetition. The love scene was affectionate or gruff, sometimes affective and gruff at the same time, due to manipulation. For example, the small gesture of a foot in a pool of blood grew through the velocity of the foot. First, quickly, then becoming almost static. Slow, smooth. The distinct rhythms and intensities reproduced the same thing as being different, temporality being used as a commentary on the sequence already seen. As stated by Merleau-Ponty, perception is the acquisition of knowledge through the senses, which is a phenomenon of our conscience. The repetition of images, with different sized screens and time, images of painful love, inform us about the images being projected themselves. 
In turn, the Bijari[11] group, made up of architects, explored urban spaces both in their theme and in the use of the warehouse itself. Beside the projection they produced a live performance with actors and introduced popcorn and candied-apple vendors. We find ourselves then within the fields of performances put on in the 60’s. Musicians in tribal costumes increased the diversity of human types, creating obstacles on the dance floor. In the same way we hardly ever see vendors selling popcorn and candied apples in electronic music festivals, neither is it usual to see musicians wearing khaki costumes and wigs and playing drums.
The city was the landscape in the projections. Urban icons around us were superimposed a camera traveling down city streets, long traveling shots placed the audience in the midst of São Paulo traffic, those on the dance floor provoking the physical collisions suggested by the image. They swayed from one side to the other increasing the collisions between spectators and the necessity of paying attention to one’s physical positioning in space. The cars’ speed changed. Phrases and icons were introduced, with questioning issues relative to urban spaces. The screens possessed different movements simultaneously. There are expressive elements not strictly related with physical spaces, but taking place within them. The situation in which they happened played along with the dispersion and rhythm of the environment.
Duva’s work proposed a silent immersion to the audience, that of Bijari simulates the urban universe and solicits the attention needed to traverse a city. It seems a paradox, but it is an immersion of our acts, produced as an active response to the situation. Could it be possible that an immersion is able to embrace this diversity of situations? In thesis, we believe so, as we will show further ahead.
One of the common traits of the live work shown was its relation to the dance floor. Even being previously defined, the sequence of sets of images depended on the degree of attention or dispersion on the floor. Factors such as the time of night in which the VJ entered, implying in more or less public attention, determines the material to be worked with and how. VJ Spetto[12] speaks of the floor’s temperature as a metaphor for how excited it is. The temperature of the dance floor is an expression related to that of color temperature, but here a type of tone, color, rhythm and visual quality is sought to constitute a fruition of the rhythm, it is an evolution of the stimuli used to create a visual score sheet. In sum, what to project, when to project, the moment to withdraw the image and leave only white or any other color is related to the construction of the rhythm by the audience. The manner in which the audience gives its attention, the quantity of people present and the music being played will create the immersion experience. We therefore have a collective pact, a collective construction of space/time.
The examples given above – literature, internet, dance floors – speak of very distinct situations, spaces and projections. Does immersion exist in them? It has been said that yes. So, what is immersion? We may conceptualize our understanding of immersion, of space and its use in art as a significant structure, or not.

Immersion and space: overlapping notions

The idea of immersion has come up repeatedly in recent times. Its generalized use is related to the proliferation of immaterial spaces provided by the computer. These spaces can be found in videogames, in representations of art, in virtual art, in manipulated spaces as telepresence or in prototypes of industrial machinery and airplanes liable to be studied on the computer. But it is not a mere term which is being revitalized, it represents issues subjacent to space, immaterial or not, and our relation to it. Immersion necessarily passes through physical contact and body/senses within the medium in which the observer is. Physical and immaterial spaces organize our perceptions in such a way as to complement or establish friction in each other when we dedicate our time to mediated activities or those promoted by machines. New spatial notions and experiences are added to traditional spaces, or in other words, to physically consolidated spaces. We are undergoing the amplification of illusionary spaces, physical or not, and the invention of immaterial spaces functioning as interfaces with material spaces or for experimentation with what is to become objects in the future , etc. Exchanges and perceptions resulting from the cohabitation with computers and spaces contiguous to them have their terms defined by illusionistic pacts constructed by us.
Both notions of immersion as well as those of illusion and illusionism bring about friction by establishing a game, tension, negotiations between that which is sensitive and intelligible. Janet Murray recalls the metaphoric sense of immersion. It is represented by an image of the experience of submerging in water, an experience which produces the sensation of being circled by another reality, which draws the complete attention of our perceptions (1997: 98-110). For Oliver Grau immersion is a complex and multifaceted experience dependent on the observers position (2003: 13). Grau places immersion as an ‘intellectually stimulating process’, while being at the same time a change, ‘is mentally absorbing and a process, a change, a passage from on mental state to another. It is characterized by diminishing critical distance to wht is shown and increasing emotional involvement in what is happening’ (2003: 13).
Immersion can thus be understood by the way in which Murray and Grau perceive it as a zone of sensory instability. A zone of instability with strictly rational precepts. A sensory zone, of synesthesia, a region of transit able to provoke insights and lead to the construction of discoveries. Either more, or less, directed by the event being promoted, immersion is an experience with multifaceted relations. A physical or intellectual environment involves the subject in such a way that they plunge into another reality, produce different poetic content, without completely letting go of their more concrete references. Murray (1997: 110) places his analysis of videogames and the resulting immersion in which the game takes place in the transit between surrender and the questioning of the medium, or put differently, cognition reinforces instead of questions the reality of the experience. The illusionary pact presupposes the acquiescence of cognition.

Space/light. Space/sound

The situations, events, places and images represented here may sometimes suggest analytical perspectives of urban sociology or anthropology. The fields of knowledge we have just mentioned would be adequate if the emphasis of the work be placed on how space organizes and propitiates a determined type of appropriation of expressive elements. Culture hailing from the electronic scene is extremely relevant for any analysis in that which deals with how it promotes its perceptive poetic content. Music, images, lights, in general, the place of projections, all involve the flux of images, of light and sounds coming to confirm the constitution of a perceptive experience where Merleau-Ponty’s (1980:90) third eye, that eye which sees material and mental images, oscillates between the dance floor and the screen.
When they go to parties, people are interested in entertaining experiences, aesthetical and artistic fruition which will provide them with stimuli. These stimuli are activated as well by consuming chemical stimulants and alcoholic beverages. There is a search for pleasure which touches on the propositions analyzed by Gene Youngblood[13] in his Expanded Cinema. The mystical and esoteric appeal of raves, the proposal of attaining to different stages of consciousness, was what attracted a few artists studied by Younglbood. If mystical experimentation has disappeared, proposals of developing work which the meaning of is to be understood at a later moment still prevails in the discourse of some VJs, or to put it differently, there is the mention of association processes. The images, due to their degree of abstraction and speed, perturb perceptions of daily activities. What we are interested in retaining here from these discourses is the type of pact proposed. This extrapolates illusions based on classic and rationalist narrative visualization regimes. They go beyond, for example, pacts of merely suspending disbelief – so thoroughly discussed in literature theories – demanded of the artist for his text, film, play, to be understood. Even in work with figurative images the pact is formed around sensorial experimentation, of experience. It is the collective plunge within a visual and sonorous rhythm. More than an extension, it is the exacerbation of traditional pacts, but however, still a pact, without which no experience would be able to create a poethical register.
The VJs work with multiple projections and the flux and pulsation of images, graphics and lights, is closer to the video clip than figurative cinema. Both the evolution of the image as its direct bond with sound, in the sense that it accompanies or by it is accompanied, touch on another audiovisual regime. Arlindo Machado points to trajectories in which to think this culture as a trend of contemporary productions in which structures are not images nor sound, can only be understood in terms of audiovisuals, or through a “motorvisual structure”.

“Images produced in clips have been so heavily contaminated by their musical soundtracks, that their are inevitably converted into music in the end, that is, into a calculated, rhythmic and energetic evolution of forms in time. In this sense, it could be very useful to observe how clips are evolving from a mere figurative addendum of the song to a motorvisual structure [our underline] which is, as well, in essence, of a musical nature”. (2000: 178)

It is of a visual nature as much as due to its evolution, as stated by Machado, as well as touching us from the front, back or side, from scintillating and reflecting. DJs and VJs construct an all encompassing sonorous and visual rhythmic whole. They may be complementary when both function in similar rhythms, or to the contrary, when each one of the two trails their own paths and unite at any specific moment. It is the “motorvisual structure”, syncopated synchrony and/or asynchrony. Sound and images can not be thought separately, they are simultaneous and interconnected, they are audiovision[14] . If images and sound were to be understood as parts of a score sheet, the vanishing point would lie first in one then the other. As the manipulation of the images and sound takes place live, assembly takes place starting with the play between the two, where the rhythm is established as a whole and is traced through space. 
Marcos Novak defines his work on the internet as a “process of metamorphosis, ‘a symphony of space’” (2002: 273). We could consider that on the dance floor, within a material environment there is also a symphony. The environment functions as a score sheet, or better, organizes the composition of space through the construction of an audiovision rhythm, through the invention of a space, through the invention of a space/image. Chris Musgrave[15] suggests that his work should be seen in an environment with a heavy-duty sound system and in the dark.. “Mregh-u-linea” by Musgrave is an audiovisual environment. In a triptych he creates the evolution of geometric colors. Initially white, they are accompanied by small sonorous and visual explosions which conduct the evolution of the music and images. The music marks the growth of the images grow hotter, becoming earth-orange, then blue-dye. The colors and forms bleed, do not respect the limits of the screen. The first images look like glaciers, the intermediate, fire.
Scott Pagano[16] restructures physical space where the scene takes place by creating visual disorder through mixing in a building’s windows which dance in front of us. The cities, lights, icons of urban culture, the blotches and slogans are substituted with either more or less velocity, but most importantly, evolve like musical tones. They grow and diminish in tension, stop the image, time is suspended, the music follows another rhythm. We are led to an inexistent city. The product of landscapes, in thesis, familiar, but difficult to say if it is really the one you think, after all, the majority of façades could exist in any a number of cities. The material city gives way to the poetic content of the city there depicted. The image seems musical, the music sounds visual. Synesthesia? That too, but one remains between, between the imaginary spaces observed and those brought to memory. Between lights, between images, between sounds, between the certainty of being in a party and the experience of visiting imagined personal and physical  landscapes.
Marcel L´Herbier, French cinematographer from the 20’s, defined cinema as being the “music of light”. The electronic scene of VJs produces the music of light at its root level, or better, stimulation/color light, light/matter which suffers refraction through the encounter with physical bodies, human or not. The image light, which diluted in the environment and then reflected, takes on powers similar to that of sound, it is seen/felt even when we do not directly look at it. It is the image light to be read within a regime of visibility which may or may not include meanings. It is a stimulus light. Each epoch has a visual culture, a visibility regime. Ours includes the audiovisual, producing motorvisual stimuli. The sounds, in turn, as we have already said, take on visual materiality.
The examples used prioritize non-figurative work, abstract pieces. Even when a theme does exist, when the artist proposes to present content with explicit material references, or when they appropriate images from TV, films, etc., there is a certain degree of openness in the projections which still authorizes us to think in terms of visual score sheets. The propositions set forth every night or at every party do not always hit the mark. We have seen a lot of bad work, which say nothing and offer us nothing, but that is part of all and any human endeavor, and not worthy of mention.

References

[1] This issue was discussed in a text presented at the Compôs 2004 by the author entitled: The VJ’s scenario: between optical and physical stimulation”.

[2] vjamm is a software from audiovisualizer as well, developed for vjing.

[3] Poetic notions on live performances can be found in the book entitled Obra Aberta by Umberto Eco and in the text A Poética do ao vivo by Arlindo Machado(2000), the two authors are discussing TV.

[4] A notion proposed by Merleau-Ponty. Productive paradox in which he who feels and thinks is part of the encounter, in the perception of a determined space/time.

[5] This is said as an analogy with proposals such as the Model Reader and Implicit Reader presented by Eco and Iser. Both are elements to be found in the text.

[6] A semiotic means of understanding this relation is to correlate representation with instances of objective power, that is, spaces in which signs refer strongly to their object (as is the case of icons, indexes and symbols). Peirce perhaps stated that, in the case of a VJ aesthetics, a zodiac sign would longer exist in its iconicity, for example, but in its “qualisignificance”, that is, with much more qualitative presence than when being used as an anaphoric vehicle for an external object. The zodiac sign is merely there, in the middle.

[7] In the site of this study you can find the screen mentioned above in the movie by VJ Duva, in the Ferro na Boneca section.. www.vjing.com.br.

[8] For more information on the groups and VJs go to www.vjing.com.br in the Profiles and Interview sections.

[9] www.vjing.com.br - See the interviews by Luiz  Duva, Palumbo and Spetto of how at certain moments the audience reacted effusively to an image. I myself have witnessed moments like this, once resulting from a provocation by VJ Spetto about soccer, another with a foreign group, which created diverse circle and brilliant movements around a Brazilian building. The image, and the ideas associated with it, is seen, felt, and makes itself noted even in such a dispersive environment such as this.

[10] Blood Red. www.vjing.com.br - Ferro na Boneca section – Luiz Duva

[11] www.vjing.com.br - Interviews, Profils and Ferro na Boneca

[12] www.vjing.com.br - Interview.

[13] The few pages of this study are not enough to discuss these issues. They are complex and we are not wholly in agreement with them. As we have already said, what we are interested in here is that they are part of a culture which establishes pacts of fruition, of perception where there is no room for illusionism reduced to fit on a screen, there is a proposition for multi-sensorial experimentation which plunges the audience into an environment with postulates of another order.

[14] Title of a book by Michel Chion, French researcher of cinema sound design.

[15] Collection of VJs and video artists called reline. www.reline.net

[16] www.reline.net

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