Croquis cinégraphique,
suite à l’incendie de la Cathédrale Notre-Dame à Paris.
Achevé le 3 Floréal 227.

Sources:

Notre Dame de Paris
commons.wikimedia.org/wiki/File:Notre-Dame_-_Eglise_Cath%C3%A9drale_de_Paris_2.jpg?uselang=fr

Turner:
L’Incendie de la Chambre des Lords et des Communes, le 16 octobre 1834

Musique:
Johann Sebastian Bach, Matthäuspassion, BWV 244 :: Aria: ‘Erbarme dich, mein Gott’ (Part II, No.47)
Interpreted by Accordeana Accordion Orchestra; Publisher: Helmond: Accordeana Accordion Orchestra
(Copyright Creative Commons Attribution 4.0)

Copyright:
Creative Commons BY 4.0 FR
https://creativecommons.org/licenses/by/4.0/

Technicals:
4’12, color, sound,
29.97 fps,
2970 : 2100.

to access the video you’ll need the password.
Hints: a poet in 6 letters, related to textile, craft, and art. (no caps)

Cinenoem between textile, texture and compressions.
The cinenoem, figure of thought in motion, is played from the scan of a picture of the dress “Trotteur pour la Riviera” de Redfern.
Its form, sharp and concise, is inspired by the Second Viennese School.

https://fr.wikipedia.org/wiki/Serge_(tissu)#/media/File:Trotteur_pour_la_Riviera_par_Redfern_1905_cropped.jpg

Editing made with Blender (source is coming soon).

Technicals:
2’19, color, silent.
30 fps,
4:3.

(english below)

Du décès de mon grand-père
et de l’histoire de sa vie
naquirent les vers qui ouvrent le film.
Ils en sont l’origine et la trame.

Des archives, matérielles,
mémorielles, héritées,
ou reconstituées,
en sont les fils.

Ces fils,
de sept natures différentes,
tracent enfin la toile
de ce film funéraire.

__________________________________________

From the passing
of my grandfather,
and the story of his life,
are drawn the verses
opening the movie.

Threads of archives,
physical archives,
archives of remembrance,
inherited or rebuilt,
at its core.

These threads,
of seven natures,
weave together, then,
this funeral film.

Technicals:
17’19, color, sound,
21fps
2100×840

#wreckOfHope is a movie without word, nor character. The title itself has more to do with a comment line in a programming language – introduced by the ‘#’ – than with a proper hashtag. Thus, any description should seem doomed to failure.

Nevertheless, as forewords, we could try something else: to tell a story, the one of its creation. It starts with a painting, made by Caspar David Friedrich, named the Sea of Ice (1824). This painting was reproduced into a 3d model, and by this same move partly reinvented. However, by a mischievous attitude, the resulting image was split into four panels, forever rotating. The picture was thus put into a sort of turbine, always making and unmaking the original painting through its spinning movement.

From this point, the cinegraphy started to emerge. At first, it took the shape of a simple variation of the four-panel figures hereby created. But soon, as a Dvorak’s sonata began to dive into the editing process, it grew into a kind of dialogue. A dialogue between image and sound, with one specific rule : each partner had to reflect the variation of the other, and then to build the following variation by its own organic process. When image and sound had plenty spoken, the film was made.

Technicals:
7’15, color, sound,
25fps
1550:750.

The skin of a cheetah
was cut in twelve parts.

Distorted
through edge detection algorithms,
and variations on game of life,
to reveal the map under the skin.

Performance-Installation aux Laboratoires d’Aubervilliers, le 8 décembre 2017.

Deux tables. Cinq écrans. Un appareil photographie (Asahi Pentax 6×7), utilisé par les services judiciaires du Rhône jusqu’en 1969 (au remplacement du carnet anthropométrique par le livret de
circulation).

Écran #1: carousel de 80 diapositives. Images extraites de vidéos vernaculaires de basse résolution réalisées au smartphone.

Écran #2: écran. Images synthétiques réalisées d’après des vidéos vernaculaires.

Écran #3: projecteur de 10 diapositives. Archives personnelles de Jacques Debot.

Écran #4: rétroprojecteur. Fragments des photographies judiciaires de Carl Durheim.

Écran #5: vidéoprojecteur. Boucle vidéo de 10 minutes, entremêlant vidéos vernaculaires et photographies judiciaires.

Movie made with Jonathan Larcher (EHESS, PhD Student on « Politics of visual ethnography ») with our collective « Brèches ».

This movie starts from images taken at a romani birthday in Romania. At the time of their digitalisation, six years later, these images happened to be damaged (glitches, drop out, gap between image and sound).

Even if we could have tried to restore those images, we chose to emphasize those glitches, in order to produce a texture and to figure the matter of the atmosphere dwelling in the images, colliding those pictures with the archive of judicial photography made by Carl Durheim in 1852-53.

Thus, we try to highlight motives, gestures and emotions which overflow the figurative convention of the anthropologic investigation.

Technicals:

9’54, color, sound,
25 fps,
4:3.

MtrNr is an installation build upon the idea of the black matter as a formal stuff, matter of the stroke, the drawing, the form.

The piece includes four screens : three with videos generated by algorithm, the fourth with fragments, place of tension between volume and drawing.

At the center of the installation is a loudspeaker. It diffuses the sound of a sonar: the installation as an exploration.

ARM#01 is an apparatus to show movies in public spaces. It contains one screen, weared, a bell of computers and, depending of the occasion, a projector and/or a boiler (in order to make some tea).

This performance took place in front of a flower shop, as the movie shown was Leaves of Maple (see below).
Exhibition Accrochage / Decrochage by Ex Habere.

p3 is a generative video, made by algorithms. It was first included in the installation MtrNr.

From a first image, here extracted from the serie Minima Moralia, an animation is automatically created.
This algorithm follows a cellular automaton near from the well-known Game of Life, devised by the mathematician John H. Conway in 1970.

The name of the video corresponds to the different parameters used in the program to generate the animation.

Series of experiments with the Game of Life (Conway, 1970).
See DSPF for more informations.

These four movies describe a maple created in computer graphics.
They are based on the first violin fantasy from Georg Ph. Telemann. Every video is built on three screens, slightly time-shifted, following the music.
The first video is a global description of the tree, and plays with kaleidoscopic effects between the different screens.
The second plays with the rythmic of falling leaves.
The third is a variation on digital, artificial, decomposition of a leave.
The fourth, then, is visualy the same as the second one, but the soundtrack is distorted, following the rythmic differences between the three screens of the video.

Technicals:

4 x 2′, color, sound,
25 fps,
7:5.

Variation on a CGI model made from the painting by Caspar David Friedrich, the Sea of Ice (Eismeer, 1823-24).

For the movie, see #wreckOfHope

An hybrid tree, made from an oak (drus) and a basilic (basilikos), built in computer graphics, follows a four-step cycle. Four panels on the wall describe the creation process. Through a cube, the public is led to interact with the tree : the image blurs and the tree whitens, until it is completely white. However, there is a random degradation, thus before disappearing the tree dons a thousand colors. When the interaction stopped, the tree comes back slowly to its initial state.