We live in a highly connected world where the border is becoming increasingly blurred between the real and the virtual. Our new universe is impalpable, intangible, immaterial, volatile, a new home of the spirit, which shatters all physical boundaries. What happens when, in a room, a real body and its digitized version, mingle? What interactions are taking place between the body, the submerged body and the digital interface into play?
The "Mirage" project is part of this research.
"Mirage" is an interactive installation that places the participant in an active and central position. It questions the relationship between self, sound and space. This is therefore a creation seeking to erase the line between on the one hand, the virtual and real spaces, on the other hand the formal categorization "artists / spectators" to the extent that the work is mainly in the relationship it creates between the viewer and himself.
This installation questions, by its immersive and interactive scenography, our relationship to the body and its environment. It confronts the audience with audio and visual elements causing confusion for their senses, questionning them about their own physical (in the room or in the world) and virtual (on canvas or virtual space) entity.
Cameras detect the movements which are scanned and processed both visually and sonically and then directly projected and mapped on several surfaces and mirros. The nature of movements affects both the video and audio mix. Thus spectators are so immersed in a flow of images and sounds that place them face themselves in a reconfigured universe, where the landmarks are broken.
If you read french, there is a wonderful article on the first rendtion of Mirage at the 6B by Aleksandra Duncan on ILMITULEMINEN.
Pictures by Patrice Bellot
Digital Primitive is an audiovisual performance by Exomène created with the help of the L:ED collective featuring Gerostenkorp and Dorianne Wotton.
The last worldwide revolution was the industrial revolution, deeply changing the mankind from a rural way of life to an urban one that modified our habits, our food, our knowledge. This change didn't happen without tensions between people who wanted to preserve their traditional way of life and those who embraced the so-called "modernity".
Nowadays, it seems an another revolution is coming: augmented humanity, transhumanism, post-humans, cyborgs...
This time, the change would be even deeper than the previous one. Not only our habits would be changed but our very selves. After changing plants and animals since the neolithic revolution, after changing nature itself during the industrial revolution, mankind seems to be on the verge of changing itself.
As this change is so deep that some could consider it is modifying more than their very roots and thus destroying their essence, the tensions between the "traditionalists" and "modernists" could be even more intense as before.
Imagine. Fearing what was not previously experienced is practically a survival reflex. Now that the change would barely be noticeable, what sneaky anxiety will it generate? Everyone would be even more than before perceived like a threat.
Digital Primitive is the result of that thinking. Gerostenkorp playing live Musique Concrète embodies the traditionnalists while Exomène playing live Industrial Music embodies the modernists. The performance illustrates the struggle between those two groups and Dorianne Wotton, VJ and video mapper creates live the visual environment of this struggle.
Who wins at the end of the performance, Traditionalists, Modernists, Nature?
We don't know. As most of this show is improvised, we never know how it ends.
Maybe chance or chaos always wins in the end.
This is an audiovisual performance by the L:ED collective dealing with existential doubt, inner universes and the ambiguity of the feelings.
Side by side seeks to illustrate the interpenetration between the real and the imaginary by linking a performer and his image through a live recording of the performance projected on the space where the performer evolves.
Dorianne describes our work with this words:
"I got lost in life. I do not know how or why it happened . But one day I woke up and I was there. Nowhere . It seemed unreal. I liked it. I found myself in front of me . "Side by side".
Many things, when they are real do not cause any pleasure. However, they succeed in the game of phantasms.
Many emotions, even troubling, can be a source of enjoyment.
So like children playing, we create an imaginary world that we take seriously. It endows large amounts of affect, although clearly separated from reality. But what is real? What is imagination? What if they found themselves "side by side" ?
It's like a dream. We mobilize our intuitive, creative, imaginative and contemplative capacities. It thus makes this dream a paradoxical means of access to an illuminated perceived reality both in its infinite lightness and absolute strangeness. To become "side by side" .
Confusion of time, space, colors and identities. Interaction with the self who is none other than me. Or my image. Disembodied. "Side by side"..."
In this piece Dorianne makes the video while I make the sound both reacting to each other and to the performers movements.
Until now the Glitch-O-matiC, was only a strange digital art photobooth runned by a demented computer. Now, it can also be used as a part of your scenography and light show.
The Glitch-O-matiC can take picture on a regular basis and screen it wherever you want and even broadcast it on the internets. Take pictures of you concert, your talk, your performance, your audience whatever and let the glitch reveal an other side of it. Just like Radio Kaos Caribou did for its anniversary concert.
Montage by Dorianne Wotton.
I often daydream watching my terminal displaying random characters. Those strange meaningless sequences that are nothing but hypnotic patterns into patterns relieve me and help me focus on abstract thinking. The æsthetic of desolation now meets digital art.
I wanted to share the experience with user@localhost:~$ cat /dev/random
Glitch-O-matiC, a digital art installation that takes your portrait and glitches it while you wait. It combines the fun of the photo booth with the fun of discovering how the glitches changed the pictures.
The audience bring its own data to the Glitch-O-matiC and initiate the process. The installation consists of a camera connected to a computer that digitizes the pictures of the participant and glitches it as you can see in the video below.
In order to glitch the picture, the computer inserts random errors in the data stream of the image that alters it in always unexpected and unpredictable manners. Replacing, moving, copying, inserting and deleting data, all these techniques are combined four times to produce the now traditionnal four pictures delivered by a photo booth.
This installation was presented for the first time on friday oct. 19th at "Les Chaudronneries" in Montreuil. The following video is a montage of the pictures taken and generated by the Glitch-O-matiC this day.
And last but not least, the first version of the code. You can contribute on GitHub.
A synaesizer (or synesthèseur in french) is a device that makes you see what it hears and hear what it sees. Thus, it turns you into a synesthete, just like Kandisky, who could hear music in colours or Nabokov, for which letters would conjure up colours.
To do so, it is an artificial synesthete in itself: its video system is directly plugged into the audio and vice-versa. If we compare it to a human being, it can hear with its eyes and see with its ears and what it sees alters what it hears, which endlessly alters what it sees...
The technique used here is the "databending", which is a form of "hacking" in the primary meaning of the word. Files or datastreams, whatever their original purpose is, are interpreted as audio files. Raw data often generates raw sounds, this is why Exomène developed a specific interpretation and refining process, partly based on spectrogram's analysis and power spectral density.
Enough with theory! I wrote a step by step explanation.
Databending does not apply to computers only. Like it's altering the semantics of signs, databending is possible with all symbol systems such as the human brain. When a human brain bends data, it is also synesthesia: union of the senses, etymologically.
This device is therefore an artificial (multimodal and bidirectional) synesthete, its senses having been melt together. But that quality of being a synesthete is only the consequence of its primary function, which is to generate a synesthetic experience on its user. It's an artificial synesthetic generator, what can be called a synaesizer.
What does a synaesizer look like?
Here is the recording of the first version of the synaesizer using pictures from the series "Visions désaturées" by Dorianne Wotton as it was shown at its first exhibition (Urgent) in mid october 2011.
(I'm on some of the pictures, could you recognize me? :D )
For the beginning of year 2012, let me introduce you F#555.
This is another digital art piece, an experiment in databending concerning this time data with a strong retrofuturist feeling since my main material is 3"1/2 Floppy disks. You can participate in the project by saving your old 3"1/2 floppy disks and send them. More info at http://www.exomene.com/F555