Musical, visual and kinetic performance
controlled by motion capture
Vis Insita is a cross-cutting performance, at the crossroads of the plastic, digital and sound arts, in which music and light are controlled on stage using instrumental interfaces based on optical motion capture*, a technology usually reserved for animated film or biomechanical research, and still almost never encountered in live performance.
The performance explores new forms of interpreting live music and interacting with the stage environment. By making indie-rock, synth-pop and electronic experiments interact with strong visual, plastic and kinesthetic components, Vis Insita intends to shake up the spectator's usual modes of perception and to favour a contemplative listening to music.
The age of digital fire
Vis Insita was inspired by the discovery, in 1985, of the Menez Dregan cave, in southern Brittany, France, in which one of the oldest known traces of fire maintained by man was found**.
The mastery of fire is certainly the technology that has most profoundly modified our way of life and our evolution, not only from a physiological and societal point of view, but also culturally. Its domestication is most certainly at the origin of the emergence of the first myths of our history and allowed prehistoric man to venture ever further into the bowels of the Earth and adorn them with pictorial works whose meanings remain unknown to this day.
In a scenography inspired by Menez Dregan and with the help of a mysterious luminous sphere that can evoke a kind of flaming torch, Vis Insita weaves with a singular and contemporary look a parallel between this mastery of fire by prehistoric man and what we now call, 450,000 years later, digital technologies. Faced with the immense challenges of the modern world and equipped with these tools as fascinating as they are terrifying, the performance is part of this prehistory of a profound metamorphosis of humanity that seems to be taking shape and that we can, for the moment, only try to imagine.
So, what poetic and sensitive imaginings can we, as artists, instil with these new tools? What enthusiastic questioning should be raised in the darkness of our contemporary uncertainties? What artistic gestures can durably imprint on the walls of the limits of our humanity?
Beyond the will to use these tools in my own way and with total freedom, it is above all for me an inner strength, an ancestral, visceral and fundamental instinct of interaction with my fellow men that pushes me to go and explore, in this Platonic cave, a world of ideas made possible thanks to this new mode of expression.
* Optical motion capture consists of capturing and digitizing real-time motion using synchronized infrared cameras.
Conception, musical creation, interpretation: Nicolas Bazoge
Lighting: Nicolas Bazoge
Interaction design: Marin Esnault, Nicolas Bazoge
Programming: Marin Esnault
Set design: Vivien Simon, Nicolas Bazoge
Set design construction: Eric Raoul
Costume : Sophie Hoarau
Winner of the Rennes Métropole Créativité Croisée 2019 call for projects.
Created with the support of the Cultural Department of the University of Rennes 2, the General Directorate of Culture of the City of Lorient, the Estran - Stage for jazz and improvised music of Guidel, the City of Locmiquelic, INRIA (Institut National de Recherche en Informatique et en Automatique) and the Immersia virtual reality platform of the University of Rennes 1, the Digital Creation Master of the University of Rennes 2, and in partnership with the motion capture company ART GmbH.
Premiere on February 21, 2020 at l'Estran in Guidel (France)
> An excerpt from the performance was presented on October 7, 2019 at Le Tambour in Rennes as part of the digital arts and music festival Maintenant. More infos :
> Interview with Nicolas Bazoge on the website of the University of Rennes 2 (in french)
> Interview with Nicolas Bazoge on C-Lab (french radio)
> Scientific publication for the NIME 2019 conference (New Interfaces for Musical Expression), Porto Alegre, Brazil (in english)