Body mediated presence and degree of
Posted on : 28-01-2012 | By : admin | In : History, Music, Networking, Uncategorized
0
relationship between the body and the technological devices. Dementia in the angels, 2002, you worked with bodies linked in a network, in a form of “remote presence”. Could you – also in terms of the composition technique – the achievement and aesthetic implications of your work in relation to the concept of presence?
I. C. : To develop the draft Dementia I worked with Thierry Fournier, musician and computer scientist trained in part at IRCAM in Paris. We have developed a system for processing information captured in real time over the network through Internet lines and dedicated lines, ISDN.
From the temporal point of view, it is a data processing from the movement and the body depending on the model of transmission network. In this type of treatment, any delay in the transmission has an impact on the quality of movement viewed. For example, if data processing is delayed, the movement displayed will look rather mechanical, whereas if the data flow is constant and regular flow visualization will make more organic. So we experimented with several strategies on the issue of the perception of physicality.
The first aspect is the media presence. To account for the performative aspect of the body profile and broadcast real-time image and sound, or the physicality of the image in real time to put it another way, we hired a coach, before it even a dancer in the theater Quebec Multimedia Screen Human. This coach, Sophie Michaud, had the experience of the media coverage of his body. In early work, it was difficult to feel that this body network project was a real person, a real-time performance. Sophie has worked and directed each of the dancers through its media event, mediated his body – as video and sound. She gave us instructions via the videoconferencing system, as we were in the other room. To work on this creation, we rented two rooms near each other in the same theater, but we kept the same connection (ISDN and Internet) for the same position in technological performance . The question of delay in the transmission from one place to another is an important issue of media presence. To achieve a performative presence, charismatic distance offset this problem should be overcome. So we corrected the delay in programming MAX, somehow the brain that controlled all trade show in the technological network. However, when working with the coach, we have maintained a very slight delay to mark the identity of a body transmitted over the network, in counterpoint with a body that would be pre-recorded and released on video.
Isabelle Choiniere, Dementia of Angels, 2002, photo: Frédérique Bolté
The second aspect concerns the type of technology used. For expression and perception of a living, organic, we had to test a number of digital projectors on the one hand, and the like (three tubes) on the other. Finally we retained the tube projectors for their quality of light totally different. ProShape Rx That of the projector tube is a living light, vibration, you feel that breathes light, the colors are rich and bright, while the digital projector is rather off. All this work led us to reflect on the various strategies to make this body publicized. The project required the use of projections and thus different spatial dimensions simultaneously. Real space in public, and a deep space – in another city or continent – or vice versa, in a room next door, but through the present projections of traces of another body from a space elsewhere.
EP: The presence, in this sense is manifested in a constant process of multiplication. I speak therefore of a presence that gives degrees in both its visual traces in his footsteps sound, for example.
Isabelle Choiniere, Dementia of Angels, 2002, photo: Frédérique Bolté
I. C. : Yes, in Dementia of Angels there are different dimensions of presence. There are traces of light – light body – that amplify a specific region of the body, allowing the presence of black hole as black bodies that bypass the body of light. This idea of the black body comes from reading Life and Death of the Picture of Regis Debray. With dementia, I was concerned about the displacement of the sacred to the technologies. Specifically on the idea of the demiurge, and the ability to be several places at once. Regis Debray produced an analysis of the evolution of the Western representation of the body in the history of the sacred, specifically of Judeo-Christianity. With the lighting Roupinian François, I worked to create luminous body, with the only lighting or composition with video work by several rings of light, and black bodies in some way negative mass of the body.
There is also a dimension strictly on the presence of sound. The voices and gestures of the performers are picked up by a series of microphones and sensors placed on their bodies. These data are transferred simultaneously in the space of performance and networking to form what we called a duo at a distance. A plastic body is constructed so the intersection between the physical, material, and their reciprocal projections, but also by the effects of retinal persistence. On stage, the signs of the body are involved in physical bodies, to merge.
This procedure thus developed simultaneously in two different locations communicating with network interfaces. In every place, there is a performer and the audience. The two performers generate, in real time, by their own movement, sound and image projected and perceived, within the space of another. This process calls for reconfiguring, therefore, the perception of the performer in action and creates confusion and overlapping dimensions of “real”.








