Vernissage : Danse indienne dans La Lenteur
Pour le vernissage, qui s’est déroulé le lundi 26 juin � partir de 18h, Rany a effectué une danse indienne traditionnelle dans le dispositif du groupe ESC.
Photo Christophe Leclercq
LA LENTEUR / Groupe de recherche ESC
Installation interactive et générative de sons, musique et images.
Combien de temps peut durer une note de musique aujourd’hui? Et un son tenu? Combien de temps peut-on dédier � l’écoute d’une musique, d’un son ou à la découverte d’une nouvelle création artistique? Vitesse, frénétisme, rapidité, glissement… semblent être souvent les paradigmes de la perception d’une œuvre de création d’aujourd’hui comme si le temps nécessaire à l’appréciation d’une nouvelle musique était compressé en quelques minutes; parfois réduit à quelques secondes… « La lenteur » vise le contraire: contre tendance, résistance, écoute non pas de la surface des sons, mais à la profondeur de ce qu’on appelle musique. La lenteur est à la fois un système interactif, une partition générative et un ensemble de modèles interactifs.
L’installation se déroule dans une chambre vide dans laquelle une musique statique, pratiquement immobile, est diffusée très discrètement. Si un spectateur rentre à l’intérieur de l’installation et y reste pendant quelque second, alors l’espace devient sensible, la musique augmente d’intensité et l’interactivité démarre. Tout est lié au mouvement du public qui est suivi en permanence par une caméra. La musique diffusée prend vie seulement s’il y a mouvement du public, autrement elle demeure à l’état de tapis sonore discret. La musique, qui se présente comme un ensemble de processus de développement de matériaux sonores, se déploie de façon inversement proportionnelle à la vitesse du mouvement, et s’enrichie dans le temps. Dans l’état de calme — ou statique — initial, on se retrouve dans un lieu immergé dans l’obscurité et caractérisé par un cycle harmonique connoté par un timbre lisse et « vocoïdale ». « La lenteur » possède un système qui interprète les mouvements du public comme étant des bons comportements ou des mauvais. C’est à la personne, qui est en train de vivre l’installation, de découvrir que c’est seulement à travers des mouvements continus et très lents qu’il vit en profondeur cette expérience musicale. Mais si le mouvement du public soudainement perd sa lenteur, alors l’installation interprète cela comme un mauvais comportement et elle se « rembobine » pour revenir à son point de départ. Quand le parcours du public tends vers la lenteur idéale alors l’installation trouve son déploiement maximal. L’expressivité émotionnelle se produit par l’immobilité des événements musicaux. Quand le bon comportement est atteint, si le public s’arrête alors « La lenteur » se cristallise pour sublimer le timbre dans lequel elle s’est arrêtée : tension extrême qui unis le sonore et le musical. Tous ces aspects musicaux sont reliés par un important système de spatialisation du son qui souligne les différentes étapes de « La lenteur » en fonction des moments de fixité et de mouvement.
Du point de vue conceptuel (mais aussi réel) « La lenteur » est une machine musicale vivante qui considère le spectateur comme la tête de lecture d’un immense fichier audio. La partition musicale, qui au départ est présentée de façon cachée, dévoile toute sa richesse et toutes ses tensions grâce au déplacement du public, comme ferait une tête de lecture sur un disc en vinyle mais cette fois ci numérique. Puisque le nombre de directions à parcourir reste presque illimité, « La lenteur » est un système qui permet un nombre pratiquement infini de musique re-crée par le mouvement du public : en ce sens il s’agit d’une novelle vision de générativité musicale.
De la même façon que « La lenteur » propose une nouvelle générativité musicale, elle s’écarte aussi d’une vision de l’interactivité « on/off » qui généralement fait réagir aux actions du public un système préétabli selon la logique du déclenchement. Dans « La lenteur », le rapport entre spectateur et œuvre cherche des nouvelles relations à travers la notion des « comportements » qui, tout en utilisant un simple système de détection par caméra, permet une lecture très riche de la façon dont le public se déplace à l’intérieur de l’espace : la qualité des mouvements, le temps d’arrêt et de déplacement, la différence entre la tension corporelle de la fixité et l’absence du mouvement.
A certains endroits précis, des images prises dès l’entrée du spectateur dans l’installation sont projetées et traitées à une vitesse différente en poussant ultérieurement les personnes vers une lenteur encore plus importante. Il y a ainsi un lien évident entre l’évolution de l’installation et le mouvement de la personne, qui est cependant inséré dans une logique temporelle prédéfinie qui gère l’ordre d’apparition des phénomènes. L’ensemble des images photographiées est rendu au public même, sous forme de séquence vidéo, comme mémoire du parcours réalisé, mais seulement si la lenteur idéale a été atteinte.
Ainsi « La lenteur » ne donne pas une réponse à la question « combien de temps peut-on dédier à la découverte d’une œuvre? Ou combien de temps peut durer une note de musique aujourd’hui? », mais elle lui donne un corps.
ESC
*Jacopo Baboni Schilingi, Lorenzo Bianchi, Daniele Segre-Amar, Michele Tadini*
Quatre compositeurs. Quatre parcours distincts et un objectif commun.
Se déplacer à l’extérieur de ce qu’il connaissent déjà , poussés par la curiosité envers ce qui, même si très proche, reste souvent inaccessible. Se déplacer entre plusieurs mondes musicaux, conscients d’une esthétique commune, reconnaissable à chaque étape du parcours.
Transformer la curiosité en exigence, en obligation.Se déplacer, se déplacer toujours.
Horizontalement, à l’intérieur des champs musicaux possibles.
Transversalement, en unissant plusieurs disciplines artistiques.
Les tools, outils, constituent un élément fédérateur de ESC.
La partie électronique de la musique est un terrain fertile à cultiver pour proposer une esthétique commune capable de se reconnaître au sein de genres et champs différents.
La musique née de cette collaboration révèle une double nature, à la fois précise et traversée par une esthétique commune et reconnaissable.
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