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| The research work pursued here
with digital technologies is not the end-objective. The aim is not to innovate
in terms of technology but to explore the tools that are available to us
today – more or less, as some of the state of the art technologies
are only accessible with the support of CECN/Technocité for instance
– and to question their role in terms of dance, perception and sensitivity. Today, with all these technologies, my approach is that of a do-it-yourselver; I do not intend to call the technologies into question but to use the images created by these tools as if it was some sort of matter that one can knead like modelling clay. The approach is also induced by the fact that I am no specialist, I progress step by step, searching for any limitations, making errors, going in depth and learning in the process. For the interactive solo Niks, I worked with the software Isadora from Troika Ranch. Skin, was the subject of the solo. I was mostly interested in working on the image and making it tactile. How can you release some of the purely visual aspect of the image and trigger other sensations? How can an image caress, touch and pinch? In order to achieve this, I used only two of the software functions: displace et delay. Reducing technology to feed the purpose. The installation Aboulie uses optical motion capturing. It is a stylistic exercise about movement representation, from actual representation to costume, from realistic virtualisation to abstraction. The capture sequences taught me how everyone’s personal character is immediately evident during capture. But it also shows limitations in movements due to technology and that you must learn to play with that. Once the recording has been done, any movement frees itself from realistic representation and can then explore other worlds. F.C. |
mutin - mutin space - performances
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