Vis Insita

Musical, visual and kinetic  performance

controlled by motion capture

The age of digital fire

Cave of Menez Dregan, Brittany, France: a prehistoric man stands with a torch in his hand. He tells a story. In front of him, in the cave, his fellow men listen to him, both worried and fascinated by the heat, the light and the crackling of the flame. Around them, projected on the walls, their shadows come alive and contribute to the emergence, in their imaginary world, among the first myths of human history. This man was one of the first to master a technology that would profoundly change his way of living and thinking: fire.

It will allow him, for example, to venture ever further into the bowels of the Earth to adorn them with mysterious pictorial wonders. What was the secret meaning of these works of art so important to them that they risked their lives to paint and engrave them in the depths of the caves? What inner strength animated them to the point of deciding to brave the most total darkness?

450,000 years later, technology has evolved into what we now call "digital technologies". Equipped with these powerful tools and faced with the immense challenges of the modern world, we seem once again to be at a prehistoric stage of a profound metamorphosis that we can, for the time being, only try to imagine.

So what stories can be told with the technological means at our disposal today? In the light of these, what contemporary artistic works do we choose to create in this darkness of our uncertainties?

Above all, what is this biological, ancestral and fundamental instinct of interconnection with my fellow human beings that drives me, Sapiens among others, to try again and again to do so?

Vis Insita is a transversal performance, at the crossroads of the plastic, digital and sound arts, in which sound and light are generated and modulated using instrumental interfaces based on optical motion capture*, a technology usually reserved for animated cinema or biomechanical research, and still almost never encountered in live performance.

This proposal explores new forms of interpreting live music and interacting with the stage environment. Mainly focused on its musical part which mixes synth pop, indie rock and electronic experimentations, it integrates strong plastic and kinesthetic components, aiming to shake up the spectator's usual modes of perception and encourage a contemplative and meditative listening of the music.

* Optical motion capture consists of capturing and digitizing motion in real-time using synchronized infrared cameras.

Winner of the Rennes Métropole Créativité Croisée 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.

> 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 :

> The premiere is scheduled for February 21, 2020 at l'Estran in Guidel (France)

> Interview with Nicolas Bazoge on the website of the University of Rennes 2 (in french)

> Interview with Nicolas Bazoge on C-Lab (french radio)

> Publication for the NIME 2019 conference (New Interfaces for Musical Expression), Porto Alegre, Brazil (in english)

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