Hyper
(Alessandro Amaducci, Italy, 2024, 5:38)
Credits
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Director, Video, Music: Alessandro Amaducci
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Choreography and Dance: Stella Gelardi
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Runtime: 5 minutes 38 seconds
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Completion Date: June 12, 2024
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Country of Origin: Italy
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Shooting Format: 4K
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Aspect Ratio: 16:9
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Film Color: Color
Description
A female body swallowed by data dances and struggles against velocity, randomness, cache memory, and the overflow of information.
The dancer becomes a hybrid creature made of flesh, data, and speed — a hyper body shouting and screaming.
Filmed entirely against green screen, Hyper transforms improvised movement into a digital storm of energy, rhythm, and distortion.
Director’s Statement
This work was born from a series of improvisations by the dancer in a green-screen room.
For this video, I selected only the sequences where the camera was fixed, as if it were a sort of “movement sampler” of the dancer’s entire figure. I needed a kind of database of full-body movements.
The dancer did not have much space available, considering the encumbrance of the lights necessary to create a clean green background and to avoid any residual light on her body.
The music was an older electronic composition that I had not yet used in any video. During filming, the dancer moved to different tracks, not to the one ultimately chosen. This disjunction between music and dance adds an extra layer of abstraction.
Director Biography – Alessandro Amaducci
Born in Torino in 1967, Alessandro Amaducci is a filmmaker, visual artist, musician, and professor of video language and practice at DAMS, University of Torino.
He has written several books on video art, digital aesthetics, and the techniques of electronic arts. Since 1989, he has produced experimental videos, music videos, video installations, multimedia shows, video scenographies for dance performances, and digital photography.
Amaducci has collaborated with the Archimedes Centre of Visual Arts, the National Film Archives of the Resistance, and numerous theaters and institutions. His extensive body of work explores the poetic and expressive transformation of the human figure through technology, light, and sound.
Programmer’s Notes – Blas Payri
Hyper is a powerful fusion of videodance and videoart, where the expressive force of the dancer meets the distortive potential of artificial intelligence.
It begins with the raw movement of Stella Gelardi, filmed in a confined green-screen studio, and evolves into a synthetic visual storm in which her body becomes data — multiplied, distorted, and dehumanized.
The work functions on two intertwined levels: dance and digital transformation.
The first is pure videodance, with an intense physical performance full of primal energy and freedom.
The second is videoart, where AI is not used to beautify or simulate reality but to expose its artificiality.
Amaducci deliberately embraces the errors, glitches, and monstrous aspects of machine vision as creative tools. The result is a world that feels both chaotic and coherent, where flesh and code merge into a screaming, hyper-accelerated body.
The editing is exceptional and works on several levels. There is the classical montage of sequences that structures the rhythm of time, but also the montage by layering and transparency that generates visual depth. In the same shot, the dancer and the synthetic worlds multiply, overlap, and fuse, creating a pulsating, multi-dimensional space that matches the energy of the electronic soundtrack.
The music, composed by Amaducci himself, propels the work forward with relentless rhythm and drive. It evokes frenzy and modernity, organizing the visual experience almost like a music video, yet the dance and visual narrative maintain their own independent evolution.
In contrast to much AI-generated work that feels empty or decorative, Hyper achieves a strong artistic statement: the female body caught, transformed, and fragmented within a technological universe.
It is not about imitation or perfection but about embracing the alien, using digital distortion as a poetic and critical language.
Amaducci continues to demonstrate that videoart, when handled with intelligence and intention, remains a field for profound aesthetic and conceptual exploration.
