Hello, I’m Blase.
Part digital abyss, part analog decay.
Neither fully human nor machine but wriggling things synthesized.
“Blase” is the name used by Interdisciplinary artist and filmmaker Bruno Lasevicius to publish experiments with music, video and algorithmic art.
Through abstract forms and narratives, my work explores human-machine interactions and the possibilities within alternating modes of perception.
An investigation across digital mediums and analog techniques: editing, animation, 3D modeling and procedural geometry. Probing new ways to translate human impressions. It’s not about hitting a mark, but rather a relentless attempt at communicating.
– I knew you would arrive, eventually.
A box full of cables becomes a folder on a server.
He smiles and twists dimensions sideways – twenty-four repetitions per second.
Project Hertz started as a film project back in 2020. Burnt out from work after some radical life changes that happened one year earlier, an emotionally depleted version of me searched in art for a way to better navigate all that I was dealing with at the time.
Images, sharp knives, and adaptation.
Hands grasp, transforming. – forever falling yet never hitting the floor.
After participating on the “Two-dimensional poetics Lab”, organized by visual artist and writer Léo Tavares, I started filming everything around me. My apartment, the street, friends and family.
Then, while everything was shut down, I shut down a bit too, keeping to myself as I tried different tools and wrote down some of my impressions and a few verses. Learning & discovering became a big part of building up my sense of self, and kept me interested and motivated.
Towards the end of 2021, I began working with audio-reactive animations. Mostly using VOID, an amazing creative app built by the folks at Triptcip. It’s a web packed environment of ThreeJS and WebGL with focus on music visuals.
By that time I had a closer look at web3 and genart, so many stunning art project and tech and I noticed how fast things were picking up. Inspiration alike, I was learning just by watching all that was unraveling.
Man-machine crunches all day and spends nights dreaming about freedom.
Through lenses and screens, man records and observes.
Between noise and sense, half-glimpsed figures swim with mythical abandon. Dream images uploaded from manholes.
The film scope kept expanding, it’s now a fictional documentary, and I narrowed down the theme:
Labor, redemption, & the ghosts of negotiations long overdue.
A spiritual tale of an overworked, unhappy mass, devoid of agency and
acting upon commands.
Is the expectation of never failing something shared among both systems?
I felt that yes.
And set one limitation: To do this project by myself, taking care of creative and technical needs alike, creating the opportunity to develop skills in areas that I was interested
in but hardly ever focused.
Like a fleeting vision of projected shapes piercing a blue haze of cigarette smoke: sensualized geometry & pixelated colors.
In the background, sequential time is above comprehension.
Oversampling, feeding back, and over laying so much more than a medium can handle.
Yet, finds beauty, In the glitch, the problem, and the excess of data, beyond the threshold.
There is no match for the humane capacity to absorb & transform.
The advent of AI and all the questions it was raising created an interesting space to build a narrative.
In the name of alterity and empathy, two processes that are very important for my creative process as a whole, I realized that to properly understand machines I’d have to learn their language.
So I started learning Javascript and (currently) WEBGPU from Arsiliath‘s Notochord course series.
Binary rules were proven insufficient when faced with the uncertain nature of our world.
Translation takes on the role of asymmetric exchange, delimiting possibilities based on compatibility.
Between words and images, the Other becomes a concept – that can be absorbed.
And here I am. As I develop my skills concurrently, I’m taking a special interest in generative art.
It became a practice, enabling a form of abstract expression that speaks to me in many levels. Holding a brush just never felt as natural as a keyboard for me.
Music & vivid dreams clang alike.
Parasites of static and flickering.
I wonder how many times humankind got caught up in its own sense of turmoil and chaos. There’s always a point that’s about to tip, somewhere.
Today, my research springs from practice, which in turn projects my research, and from this feedback loop of fast-paced simulations and slowed-down time, I share fragments and pieces, seeking validation but mostly building up my version of this world, bit by bit.
Meanwhile, algorithms challenge natural laws, recalculating the route in which we’re heading.
Hertz as a film is slowly coming together as I map and process each step of this journey, and in the end, I hope it thrives as an investigation of both analog and digital worlds, questioning the boundaries of reality and setting free all there is to be.
