Series of experiments with the Game of Life (Conway, 1970).
See DSPF for more informations.
7'15, color, sound, 2016
#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.
9'53, 4:3, sound, color. 2016
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, those 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.
installation générative, 2017 [wip]
Ode à la fin du monde est une vidéo parasitaire. Elle est construite en temps réel et se nourrit d’images d’autres organismes, appartenant de quatre sources distinctes : planctons, vers de terre, abeilles, spiruline.
Trois de ces organismes portent en eux la trace des luttes écologiques, témoins de la pollution des océans (planctons), des sols (vers de terre), ou dans les airs (abeilles).
La vidéo mêle, au gré de son algorithme, les images de ces êtres vivants. Le croisement est produit par le biais d’une synthèse de systèmes de reconnaissance visuelle et d’automates cellulaires, dont les couleurs sont définies en fonction de la température extérieure.
Se dessine ainsi, entre constellations et traits cabalistiques, une ode visuelle, biotope symbolique dans lequel s’entrecroise la mise en commun des questions écologiques.
4min44, BW, 2016
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.
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.
video, 2 min, 2011
4min46, couleur, 2013
This essay is an audio-visual interpretation of the sculpture Mother as a Mountain by Anish Kapoor. The movie combines recorded shots, digitally modified ones, and computer graphics.
It was devised at the same time as a theoretical research on the idea of a non-verbal meaning, conducted first at the Sorbonne Nouvelle, then at the EHESS.
4x2min, couleur. 2015
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.
installation, 2 écrans en boucle, 2015
Variation on a CGI model made from the painting by Caspar David Friedrich, the Sea of Ice (Eismeer, 1823-24).
The movie is edited with a soundtrack created by remixing a Romance for Violin and Piano by Antonin Dvorak, performed by Aurélia Bonaque-Ferrat and Ludovic Marec.
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.
BBL et Babel (Stravinsky) were shown during a performance of the artist Regine Gaud, at the Cité des Sciences et de l’Industrie (Paris).
The first video is the slow description of a body which mix skyscraper and pictures of the babel tower. The second is a visual transcription of the score of Babel by Stravinsky (for details about the visual transcription, see Mondestrunken).
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.