NOETIC DANCES
Audiovisual, musical and dance performance.
At a time when transhumanism wants to be religion, when social distancing makes us captive to platforms capitalizing on our attention, and when mass surveillance is made possible by algorithms, the imprint of virtual technologies on our lives seems very real. .
An influence that could only be seen as harmful or great in a biased, polarizing media spectrum, between fear and fascination. But beyond the dystopian readings,
a mature relationship to technology can be considered. The philosopher Bernard Stiegler called Pharmakon the duality of techniques. Neither good nor bad, but both at the same time. Neither totally real or virtual, our relationship to the world is equipped with tools, at the cost of their artefacts. The technological tools used here are plural, with in particular the use of artificial intelligence in the various nested media: in the music, algorithms generate synthetic voices, or isolate acapellas from another century to blend in with synthetic compositions ; to the visuals, by the generation of moving pictures resulting from the semantic reverie of a neural network, or even by the automatic detection of the dancer's body by a camera coupled with computer vision algorithms, thus allowing the genesis of a twin digital. Through the use of these algorithms, a message: to appropriate the techniques, rather than to undergo them.
This project is a poetic interpretation of this complex relationship to the world via technologies, through the communion of 3 universes: electronic music, 3D visuals and hybrid dance, combined via a joint performance by 3 artists: Noesis with electronic music, Alexandra Radulescu, artist visual, through the creation of an interactive 3D environment using motion capture, and finally Thomas Ballèvre, choreographer and dancer who embodies this real-virtual duality through his interaction with his digital twin.
This performance is dedicated to the Uyghur community, victim of a new kind of techno-dictatorship represented by the Chinese power, disguising through a vast disinformation campaign, what the Geneva Convention qualifies as genocide.
Thomas Ballèvre: choreography, interpretation
Paul Herent / Noesis: live electronic music
Alexandra Rădulescu: live 3D interactive visuals
dates:
• Recording, Krispy Records, Croissy sur Seine, March 7, 2021
• Recording, La Station Gare des Mines, Paris, March 27, 2021
• Performance, Scenoscope Festival, MC93, Bobigny, June 10, 2021
• Performance at Hangars Numériques on Reunion Island, December 2021
• Performance at the Chambers in Aubervilliers, December 2021
Video / recording:https://vimeo.com/539945294
AUTOPILOTis a series of works of art exploring the archaic reflexes in the festive environment by different methods to reach what we can call the state of automatic pilot. It is a research on dance considered as a primary instinct, a work around the deconstruction of conscious movement, giving birth to a non-performative dance in the virtuoso sense of the term. An interpretation of this dissociative state through different fields such as science and religion (trance, hypnosis). A work that raises the question of the transposition of the clubbing universe on stage, the place of the surrounding context in the physical and psychic disturbance and the immersion to reach this state: thanks to a collaboration with many artists from various disciplines such as music, technology, video or literature. What does this imply in the movement.
https://project-autopilot.com/
https://lamanufacture.org/spectacle/danse-en-residence/
SUBMERSION
Performance for PANERAI as part of the D'Days at the Decorative Arts in Paris
Like the swell, carrying the public with us. Immerse them in an aquatic universe with poetic gestures. Take inspiration from contact dance techniques to represent what could be the movement of water, of its waves. Feel the material and the density, dive into the depths of the sea.
With Thomas Lagrève, Lucas Bassereau, Fanny Alton and Julia Rauch
Music: SAVAGGIO MUSIC https://www.youtube.com/channel/UCswe6VJbXDx1i3NQFgwixaw
WHEN THE TOOTH FELL
Piece for four dancers:Laure Anne Segers,Mourad Bouayad,Laura Dufour,Lola Atger
Duration: 10 minutes
The play borrows the ideology of the filmCanine(Kynodontas) ofYorgos Lanthimos, which have become rules and ways of thinking/dancing for performers. She develops the following different concepts: family, incest, childhood, play, mutilation, sexuality, innocence, or even education.
When the tooth fell translated the latter by the framed freedom of the performers. They had to shed what they knew before, to cultivate a new sense of what it was to "dance", based solely on these new rules. A guided reappropriation of primary movements.
Performative work for a dancer
Video :Pablo Albandea - pabloalbandea.com/
Inspired by Butoh dance; slow movement, deep movement; the one who gnaws from within. Imagine yourself being a kiwi and a spoon scooping you out very gently without it being physically visible from the outside. What would that produce in you? What to let appear of what is happening deep within us?
Games of ambiguity and transparency. Can we really trust what we see? Theme of sexuality, religion, possession, evil, good and morals. Something becomes daring when it departs from the norms, but these norms are defined by morality whether general or personal.
What to actually show?
To be transparent/honest to what extent?
Can we really trust what we see?
GREAT[P]TO DARE
Here the choreography is the fruit of these new reflections, out of step with common sense; the words have a different definition, the relationships are changed, the absurdity feeds this piece and justifies its interest.
The four performers interact as a result of chance; the aesthetics of the piece is marked by it and offers a singular representation. A unique experience at each performance.
“I'm just looking for a weird emotion in a diverse range of emotions. » YORGOS LANTHIMOS