_Synesthesia

The weightlessness phenomenon is possible because it is physical, because there is a weigh, an envelope, different space values and space perception.

The feeling to belong to the world is real only because there is a world made of other bodies with other ideas. Because there is a dialogue, there is a confrontation and there is hope.

The testimony is necessary because it is feeding and nurturing, it gives an image, a description, a print.
Our project for the residence « hors lieu » (partnership with Observatoire de l’Espace, CNES Arts Science Lab) is a testimony. The testimony of a body in a space that is definite, closed, difficult to reach and often imaginary. A body that gets rid of his own weight to bring other bodies to experience a new entity and a new space.

It leads to a reflexion about another world. About a belonging to the world and to another space and another time.


The artist’s body thrown in the air and experiencing micro-gravity becomes a testimony and a metaphor. He is the one who experiences and the one who passes on to others at another moment in another time space.
JEANNE MOREL – ballet dancer and performer

By capturing the data he recreates not the image, not the place but the feeling of space and state change. The artist who remained on the ground digitizes and revives the moment.

PAUL MARLIER – architect and multimedia artist

Together they conveyed emotion to live.

During the flight, Jeanne’s body was be covered with biometric sensors which recorded her heart beats, her oxygen rate, her stress level and the altitude at which she presently is.

Her movements will be digitized thanks to motion capture software which also takes pictures ans analizes spots and parts of the body in the space and time in three dimensions.


Instinctive dancing in micro gravity relies on the destruction of the up/down notion, on the acceptance of losing a « unique » gravity center, the search of a new beginning motion and the drawing of a continuous gesture.

In 2G the inner part of the body (blood and organs) seem crushed together towards the « ground ».

There is in the body envelope a « spare space » for the movement. The movement made by Jeanne at the last parabola requires a so far unknown effort. It is painful and limited to the necessary gesture.

In zeroG, the body is no longer an envelope neither a channel, it becomes the movement itself.

It is the instantaneous translation of a tide that, in a gravity space, we imagine as intimate.
It is a space-body nearly an astral body.
We feel -or we imagine- a bursting of all our earth datas in an oversized space.

There is in micro-gravity dancing a powerful communion between inner space and environment. The movement becomes « binding ».

It becomes the language of this new mecanism. It is expressed as a combination of the gesture, the grace, the technical achievement and a link with irrationality.

The pattern of the micro-gravity dancing is a cocoon, a lace, a score of convex and appeasing initials. A digital « mandala » which becomes a language

We found in this new space an arts harmony where ephemeral becomes a vector and imateriality gets codified.

It was then about translating the dance, drawing the motion in micro-gravity.
In short, to make the invisible visible.

The vectors drawn by the dancing body may be viewed as the mould for the motion codes .

The movement expressed in a succession of steps which, besides being the materialization of the dancer’s inner language, becomes a score.

This score will be used as a data base by the choreographer, by the dancer and also by the musicians and the living show technicians. A mould to establish a correspondance.
The drawn vectors by the dancing body are also becoming a plane, a volume printable directly in three dimensions.
The invisible materializes, the instant gets codified and the ephemeral becomes tangible.

The weightlessness is therefore sculpted and everlasting.

Beyond the drawn vector and the materialization of the dance movement, technology enables the sublimation of the physical phenomenon due to emotion.

By digitizing biometric information, we can enhance the infinitely big and the infinitely small.

Using these data no longer as codes but as feelings enables to make the experience more precise and to share it ;

The more information we gather about the dancer, the better we can make the instant lasts. To immerse. To communicate.

So the digital analysis of these physical data tend to sublimate the dancing moment and draw a landscape between  the witness body and  the emotional body so it provides  a specific experience of micro-gravity.


_Synesthesia.01:

Beyond the drawn vector and the materialization of the dance movement, technology enables the sublimation of the physical phenomenon due to emotion.

By digitizing biometric information, we can enhance the infinitely big and the infinitely small.

Using these data no longer as codes but as feelings enables to make the experience more precise and to share it ;

The more information we gather about the dancer, the better we can make the instant lasts. To immerse. To communicate.

So the digital analysis of these physical data tend to sublimate the dancing moment and draw a landscape between  the witness body and  the emotional body so it provides  a specific experience of micro-gravity.

PERCEPTIONS – EMOTIONS – DIGITALIZATION – IMMERSION

What dance for what place, in what body and with which language ?

If today we possess more device to collect the data, we have just as many ways to translate them.

So, how are we going to share the essence of the dancing movement in a world where robotics, virtual reality, the 3D impression, the video mapping and the increased reality open new ways to new places of utopia ?

With

  • Observatoire de l'espace
  • CNES Art Science Lab
  • Novespace