PROJECT INFO | VISUALS | NARRATIVE | CREDITS
WHAT
Fancine (Fantastic Film Festival of Málaga) stands as one of Spain’s leading festivals for fantasy and horror cinema . Its program ranges from feature and short films to concerts, conferences and workshops.
In late 2024, for its 34th edition, Fancine commissioned Cravat and me to perform a live show, providing the opportunity to craft a live sonovisual experience inspired by the festival’s core theme: Artificial Intelligence.
HOW
Visuals for this live show were created as a surreal journey to bend time and space through:
LITERARY SOURCES
The rationalist humanism of Isaac Asimov vs. the technometaphysical altered states of consciousness explored by Philip K. Dick .
The cyberpunk universe of shadowy corporations and artificial intelligence depicted by William Gibson vs. Ursula K. Le Guin's exploration of technopolitical structures—a rupture from reality towards more optimistic worlds, in the here and now.
CINEMATIC SOURCES
Blending Cravat's visual universe with references to science fiction cinema: Stanley Kubrick's explorations of time-space travel, the portrayal of androids as human beings' "evil" doubles, David Lynch's dreamlike universes, Ridley Scott's dense, ethereal atmospheres.
To complement this visual experience, the image of an eye remained on the screen at all times , locked onto the audience—defying one of cinema's cardinal rules: never look directly into the camera.
VISUALS
NARRATIVE
This entire project revolves around a single idea: vision as a construct that surpasses more than mere sight.
Vision as a flaw. Vision as a framework. Vision as nostalgia for the past and future. Vision as a projection of and toward reality. Vision as a creative power.
The universes explored in science fiction cinema—often audiovisual adaptations of literary works—are not just tales about incredible futuristic technologies. They offer a peek into the future, sometimes bleak, sometimes brimming with possibility. Similarly, vision is a tool capable of both creating and dismantling the narratives that shape reality.
Individualism is an illusion; we are never truly isolated. It depends on you—on us, as a society—to intervene in the broader narrative, shaped by the ethics and places that configure your gaze.
But how exactly does one do that? I'm not quite sure: I'm just a hacker of narrative and (audio)visual illusions.
From now on, your journey continues in the company of voices—more reliable than mine—to inspire and strengthen your own vision.
Cravat + PRRMB performed live for Fancine’s 34th edition on Thursday, January 23rd, 2025, at Contenedor Cultural (University of Málaga)
This excerpt captures a glimpse of the live experience
CREDITS
VISUALS*
Original concept _ PRRMB!
Literary sources _ Bradbury, Ray Fahrenheit 45 (1953) | Burroughs, William S. The Naked Lunch (1959) | Dick, Philip K. Ubik (1969) | Asimov, Isaac The Bicentennial Man (1976) | Gibson, William Neuromancer (1984) | Stephenson, Neal Snow Crash (1992)
Visual Sources _ Short films _ Smith, George Albert, dir. Grandma's Reading Glass (G.A. Smith, 1900) | Richter, Hans, dir. Filmstudie (H. J. S. Richter, 1926) | Mahera, Mahiro, dir. The Animatrix: The Second Renaissance Part I (Studio 4°C, Warner Bros., 2003) | Feature length films _ Lang, Fritz, dir. Metropolis (U.F.A., 1927) | Kubrick, Stanley, dir. 2001: A Space Odissey (Metro-Goldwyn-Mayer (MGM), Stanley Kubrick Production, 1968) | Lynch, David, dir. Eraserhead (American Film Institute (AFI), David Lynch, 1977) | Lynch, David, dir. The Elephant Man (Brooksfilms, 1980) | Scott, Ridley, dir. Blade Runner (Warner Bros., Ladd Company, Shaw Brothers, 1982) | Lynch, David, dir. Dune (Universal Pictures, Dino de Laurentiis Cinematographica, Estudios Churubusco, 1984) | Lynch, David, dir. Blue Velvet (De Laurentiis Entertainment Group, Orion Pictures, 1986) | Lynch, David, dir. Wild at Heart (Polygram Filmed Entertainment, Propaganda Films, 1990) | Lynch, David, et. al. dir. Twin Peaks (Gregg Fienberg, Harley Peyton, 1990-1991) | Cameron, James, dir. Terminator 2: Judgment Day (Carolco Pictures, Pacific Western Productions, Lightstorm Entertainment, StudioCanal, 1991) | Lynch, David, dir. Lost Highway (Ciby 2000, Asymmetrical Productions, 1997) | Lynch, David, dir. Mulholland Drive (Les Films Alain Sarde, Asymmetrical Productions, Babbo Inc., StudioCanal, The Picture Factory, 2001) | Garland, Alex, dir. Ex Machina (DNA Films, Film4 Productions, A24, 2014) | Experimental _ Milagro de Catamarca Analog. (December 22 2021). VHS Visuals. No Music. The second take. (Video Archive). YouTube | Ich Bin Mupi, Lévar, Alejandro. Fictional advertisings on Ubik Clout
MUSIC*
#01 V0R73CH _ Vortech (unreleased)
#02 2K01 : A Skit Odyssey _ Skit (unreleased)
#03 Futura-B9 _ B9
#04 W.W.D.D.? _ Untitled (unreleased, rare version)
#05 (4)Ava Ex MCHN _ Shining (unreleased)
#06 Halt & Catch Sharpo _ Sharpo
#07 Ubik Clout _ Cloud (unreleased)
Artist _ Cravat
Composers & interpreters _ Carlos Contreras, Cristóbal Galeote, Christian Cuberos
WORDS*
On-display text _ PRRMB! except in:
#02 2K01 : A Skit Odyssey _ HAL9000's disconnection excerpt adapted into Spanish
#03 Futura-B9 _ Isaac Asimov The Three Laws of Robotics
#07 Ubik Clout _ opening on-display text _ Isaac Asimov The Three Laws of Robotics Free détour of Asimov's original posit | closing on-display text _ Ursula K. Le Guin Acceptance speech of the Medal for Distinguished Contribution to American Letters Excerpt (article's closing paragraph). Translation into Spanish
Copy editing & Proofreading _ Stephanie Bento
* In spite of having been cut, edited, modified, loosely translated and remixed, all sources (sounds, tunes, code snippets, pictures and videos) appearing in this piece have been used with the utmost respect - despite the will to create something completely new of them.
PrRmB! (CC BY-NC-ND 3.0 EN)
