MUSIC | GESTURE | IMAGE | MOVEMENT
The ACROE, explores with artists and researchers new ways of creation where the body, the sensitive and the instrument reinvent themselves with digital technologies.
From sensory dynamic perception to physical modelling, for a new kind of interactive visual representation : the body involved, driver of the dynamic visual simulation.
Cynergia is created in partneship with ACROE-ICA laboratory and relates my thoughts on motion prioperceptive perception, its possible likely representations and ACROE-ICA researchs in motion genration by Newtonian physical model (masses/interaction).
ACROE-ICA team working on this project:
Annie Luciani (director, in charge of Dynamic Visual Arts), Stephane Boeuf (Computer Engineering), Delphine Passinge (Software Engineering) and the trainees Maxime Veslin (Modelling) and Eric Tatulli (Analysis Protocol) of the Master Degree Art-Science-Technology, School of engineering in Physics, Electronics and Materials Science in Grenoble.
Broadly used in industry to size devices and to forecast behaviors, physical simulation has still an Art purpose. Cynergia involves two types of physical models of ACROE-ICA, the first to generate a visual movement, the second for a visual representation, in both cases by digital synthesis. The project is reachable only by using these models having their own dynamic behavior activated by sensoring process.
Device description, interactive intallation:
Device components: interactive pumps with force sensors, a physical modelling (the motion metaphor), and a dynamic visual simulation, reacting in real time.
The acting subject (the observer using the device) must use his/her body weight to foster synergy with the dynamic visualisation ahead. The physical model receives sensors datas and simulates a motion (in regard to the action and the force given by the acting observer), which an Art representation is cast on screen. However, since the physical modelling system has an autonomous structure and dynamic resulting, it slightly moves away from the subject movement and encourages him/her to adapt his/her action with body motions. The expected result is an interactive loop bewteen the subject's motion and the device.
Issue and research problem: the corporeal scheme
The device mobilises a subject's kinethetic perception and encourages him/her to realise his corporeal scheme. Motion tracks are transposed into the physical modelling device. Real time notion is a decisive connexion allowing to establish the following couplings:
Why this system is different from traditional motion picture?
Physical visual simulation has not the same regular linear narration criterias since it depends on the body motion sensored with physical dynamic simulation, both having an unprectictable and non deecred part originating in their own behaviors evolving according to their underlying structures.
Real time and feedback notions replace the temporal linearity of successive motion pictures. Thus, visual simulation is each time new and is caused by the condition: motion and perception of the acting subject, sensoring, physical simulation. The kinetic rolling-out depends both on actions/perceptions of the subject and on the model behavior, instead of a pre-established cut.
Un Etude pour des études sur Etudes sur Paris is a live soundtrack for the film Etudes sur Paris realized in 1928 by André Sauvage. This piece is composed of 8 GENESIS sounds mixed live on a surround (5.1) sound system and some acoustic instruments played live by the artist.
Title : LamerAuthor : Claude Cadoz
A creation of the Franco-Portuguese Institute of Lisbon, April 15 2010.
Stereophonic piece, 2'10 created with GENESIS soft.
Commissioned by the cultural center of contemporary music Miso Music Portugal, Lisbon for its 25th aniversary.
The piece is created from a music box model totally rebuilt with GENESIS. This model is composed of a range of elementary oscillators tunned according to the music tonality (the French song La Mer, by Albert Lasry, Charles Trenet) which localised masses series percute, themselves placed at various height and throw at their initial speed to produce this sweet melody. From this simple model, many transformation take place, as well as regarding the vibrating structure transforming into complex structures, strings, plate... than on the excitement dispositve becoming a kinf of domino game with various reflections, breakings, launchings...
Supervisors : Claude Cadoz, Annie LucianiTitle : Et..Ondes ParticulesReferees : Kévin Sillam Mélanie Lesbats, Annie Luciani
Et…Ondes Particules ( "And..Particles Waves") is an artwork by Mélanie Lesbats and Kevin Sillam. It is based on scientific technics and concepts of ICA laboratory and ACROE, and benefits of the artistic guidance of Annie Luciani, founder of the Dynamic Engraving process used in her artwork. This piece also aroused from a partnership with EESI School within the project Instrumental Creativity.
This work is about interpreting the echo as a manifesto of waves diffusion and feedback in a fluid environment fostered by a source element leaving its print. This interpretation allows us to transpose the echo, which is a phenomenon of sound environment within a visible environment phenomenon. In this interactive installation, the audience motion while entering the place is made visible with waves he/she produces, as an echo to its motion. The person is so absorbed or reflected by a sponglike environment variable and programmable. This transformation principle makes visible the exchange of power, which one usually do not notice (in our daily experience of the environment and the world around us). Our continual interaction with the world, with human beings, are rendered by involuntary phenomenons such as, for instance, when two walkers synchronise their path rhythm. Likewise, when a person cross a corridor he/she does not hurt him/herself, it shows that something is happening inside the person. This is a distance interaction, though nonetheless, real, which can be easily modelled in virtual worlds.
This work has three interaction levels. The first is the interaction between the audience-player and a measured matter symbolizing the environment in which the audience-player evolves. Its motion is received by cameras and it is interpretated by digital simulation as a digital marker leaving its print on the measured matter. The second occurs by waves interferences produced by the measured matter. Indeed, this matter is in permanent interaction with itself. The third interaction is placed between two observers placed simultaneously on stage. It is divided in two capture spaces on both sides of the Dynamic Engraving space. Thus, waves interferences result in, either one observer coming to mark the measured matter, or two observers.
The title, Et .. Ondes Particules ( "And..Particles Waves"), stands to illustrate the ambiguity between those two interactions. In this project, particules are not visible, but make waves which alone are visible. This work uses the creation tool GravDyn initiated by Annie Luciani and developped by Kevin Sillam during his Phd. This process consists in assigning two masses to each pixel, which one is fixed, the other on motion, as well as an interaction between those two masses. Thus, the engraved screen is a plate of moving masses, and the interactions between the points on screen simulate various behaviours from an environment on which a print has let a dynamic mark. Regarding the mass height, a color corresponding to one pixel is assigned. Therefore, each pixel becomes sensitive, since it virtually owns a mass. The title and the work in itself highlight the creation process.
Chordis Cordi Vibrat: 1, Preludio su B A C H from Giuseppe Gavazza on Vimeo.
See following videos of this piece here.
Author : Olivier TacheArt and technic council : Claude Cadoz
Created publicly on Monday 19th, November 2007 at the CRR of Grenoble, during the night "Young Creation" of the event Enactive/07, Enaction_in_Arts.
Showed publicly on Friday 10th, October 2009 at the ACROE, during the international seminary "Signal, Computering, Music", and following Olivier Tache Phd thesis defence.
« There was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature. » (Edvard Munch)
Utsikten is inspired of this work relating the facts having its origins in the famous canvas series The Scream (Skrik) by Edvard Munch. The piece, borrowing some precepts of Generative and Croncrete Music, has been created by putting together sounds sequences produced by physical simulation with GENESIS software.
Gaea has been selected for the concert at JIM08 (Journées d’Informatique Musicale / "Computer Music Days"), Albi, France.
Gaea has been selected for the Symposium « Musique et Complexité : autour d’Edgar Morin et de Jean-Claude Risset » / " Music and Complexity : around Edgar Morin and Jean-Claude Risset", CDMC, 9-10-11 December 2008, Paris, France.
Gaea was broadcasted at the Chambre Music Festival of Martigues, July 2009, Martigues, France.
Gaea has been selected for Bourges International Competition 2009 "Electroacoutic Musics and Electronic Arts — Category: Aesthetic Pieces using Software", Bourges, France.
Fluente, has been selected for the Dance Forum of Monaco in February 2007 and Chimin Hsieh optained a host fellowship at the AME laboratory of Arizona State University with this piece.
First creation : EESI, Feburary 2010
Second creation : #AST 2011
This installation implements force-feedback and multisensory simulation ACROE's tools, used for the first time in an art installation. The piece presents a new concept where the public is at the same time watcher, actor and performer. Indeed, the spectator is given multisensory explorations, with which he can play as long as wanted, with vision, gesture or hearing sense. The artifact also encourages the public to express himself orally in order to reveal his background as much as possible facing this unique sensory condition : feelings, evocations, corelations, interpretations, sensory or corporal commitment/denial. This oral expression makes full part of the artwork because it reveals the construction process of a sensory universe.
The concept of "composing sound", introduced and experimented musically by Jean-Claude Risset— French compositor (1938 - )— since the 60s with computer sound synthesis, extend, widen, overtake and transform music writing for mechano-acoustic instruments. It does not answer the question of instrumentality though, particularly weakened by computer machines. Modelling and digital simulation technologies to "write the instrument to compose it", given the concept suggested by Claude Cadoz since 1976, aim to answer in a conceptual way this musical problem. The instrument gets back one of its fundamental sense : the potential sound structures, then the fact that its writing allows to relate deeply sound structures and musical organisations. The images of the exhibition give—under the name of "Tablatures", instrumental structures created with the GENESIS software, viewed as a music composition process.
The art of visual motion emerges as an art in itself, as shown in many prolific attempts in the performing arts in which dance and image are combined. The following concept "before and beyond form, for moving visual art" is fundamental in ACROE's works in image and computing. Nonetheless, the transition from a concrete space necessary to transform visual movements into dynamic arts, though often experimented today in artifacts performing dance and image, remains an openned and unsolved question. Created with ACROE's Gravures Dynamiques software, "Gravures Ephémères" exposes micro sequences of animated images in which gestural movements expand in a dynamic way in the concrete image given various metaphors, which are themselves dynamics as diffusions, afterglows, sedimentations, flows...
In this title, an utopian music reveals various sides of its personality by going through structures constraining it to take always changing plausible forms. Deep counterpoints fields are hollowed revealing lines detailed and contained in germs in the original matter. Music is then presented as a block which observation would make birth to correlations between the whole shape and the details of the veins.
The mysterious word fnord is the typographic representation of irrelevant information or disinformation. It was coined as a nonsensical term in the discordian text “Principia Discordia” - a discordian* religious text written by Greg Hill and Kerry Thornley and first published in 1965 - and then popularized by “The Illuminatus Trilogy” (1975), satirical conspiracy fiction novels by Robert Shea and Robert Anton.
Fnord is an intersection between satire, radical absurdity and popular culture. In the novels by Shea and Anton fnord has a hypnotic power over the unenlightened. Whereas to see the fnords means to read between the lines. In the computer circles fnord has been used to indicate a random or surreal sentence. The term is also often used by hackers and programmers as a metasyntactic variable or a placeholder name. Moreover, fnord appears in the Sub-Genius** film “Arise!” and has been in use in other contexts related to the Church of the Sub-Genius.
In relation to the classical theory of information, fnord can be understood as a noise inside a communication channel, which can block or interfere with the meanings of a message, but is still considered to be information.
Fnord was premiered during the #Art Science Technology event, nov 28-dec 03 2011, Grenoble, France.
All copyrights remains with the author.
"Kafes" is an audiovisual algorithmic live perfomance, based on the melodic frame Makam and the repetition of Usul rhythmic patterns borrowed to Ottomane music. Makam rests and usul rhythms define the narrative structure of this composition. Each makam, likewise in the Indian ragga, fixes a unique principle bewteen notes and singing developement. Usul, the underlying rhythmic, completes this sound scale and helps sometimes to shape the whole piece structure, heights, volumes and tones, and also its visual animation.
[Stage and video performance]
The piece is a hearing, gestural and visual reinterpretation of an experience lived on the art installation "Geste réel sur matière simulée" (real gesture on simulated matter). A voice-over take again some words pronounced during the experience meanwhile a dancer-mime looked for, with his movement-free hands amplified by a projection on screen, feeling himself and making feel to the public the intimacy of the person with these new objects, which he doesn't knew before that, objects he discovers and will never entirely know.