VISUAL DOCUMENTATION
The video and photo documentation on the website is separated into two parts;
Einstein’s Dream and Frankenstein’s Ghosts, are past research/creation projects whose process,
creative vision, use of interactive technology, responsive environment design, and artistic outcomes are directly
related to our proposed project InTime; and Other Research, which represents important milestones and new
compositional paradigms for activating responsive environments via our cutting edge interactive systems
Einstein’s Dream and Frankenstein’s Ghosts, are past research/creation projects whose process,
creative vision, use of interactive technology, responsive environment design, and artistic outcomes are directly
related to our proposed project InTime; and Other Research, which represents important milestones and new
compositional paradigms for activating responsive environments via our cutting edge interactive systems
EINSTEIN'S DREAM
Phase 1 and 2 / FQRSC -Appui au Project Novateurs Program - Hexagram Residency - (2011)
Phase 1 and 2 / FQRSC -Appui au Project Novateurs Program - Hexagram Residency - (2011)
Einstein's Dream sought to build time conditioning installations & techniques capable of creating palpable alternatives to the everyday experience of time. Our intention was to construct physical zones in which objects and fields of lighting, sound, and video would change in concert with the inhabitants’ movement to create a new architecture of kinetic material and digital media in which time becomes an elastic medium of expression and invention.
DOCUMENTATION - Demonstrates a variety of interactive media outcomes. Phase 1: dedicated to the exploration of new techniques, methods and the design and development of innovative interactive media. Phase 2: used to assess the results of Phase 1 within an exhibit, envisaged as a means of altering the participant’s perception of time. The floor of the space was covered with 13 metric tons of sand in order to provide an organic surface with which the body could interact. |
FRANKENSTEIN’S GHOSTS
SSHRC – Research/Creation Project (2007-2010)
SSHRC – Research/Creation Project (2007-2010)
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A deconstruction, analysis and exploration of the substantive themes emerging from of Mary Shelley’s Frankenstein, such as: what are the boundaries of the human? To what extent do we create ourselves? What is our responsibility towards what we create? What ethical challenges do our present technological advances present? And what does it mean to be human?
DOCUMENTATION
- Demonstrates our capacity to work on large-scale productions utilizing traditional theatre practice and stagecraft, cutting edge technology and creative, collaborative and collective exploration. The material chronicles the works informal presentation in 2010.
DOCUMENTATION
- Demonstrates our capacity to work on large-scale productions utilizing traditional theatre practice and stagecraft, cutting edge technology and creative, collaborative and collective exploration. The material chronicles the works informal presentation in 2010.
OTHER RESEARCH
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SHADOWHOOD
Collaboration with "mere phantoms- October 2012
A two week workshop combining projection, shadow puppetry and animation techniques.
"mere phantom" is a Montreal-based collaborative studio that uses light and motion to create spaces and experiences with ambiance, allure, spectacle and intimacy. Exploring the ephemeral qualities of time based media, the studio produces innovative installations, projects and workshops that employ a range of projection, shadow puppetry and animation techniques.
A two week workshop combining projection, shadow puppetry and animation techniques.
"mere phantom" is a Montreal-based collaborative studio that uses light and motion to create spaces and experiences with ambiance, allure, spectacle and intimacy. Exploring the ephemeral qualities of time based media, the studio produces innovative installations, projects and workshops that employ a range of projection, shadow puppetry and animation techniques.
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PRACTICES OF EVERYDAY LIFE
Premiere Société de Musique Contemporaine du Montreal
Montreal New Music International Festival - February 2015
A performance choreographed around a chef and sonified objects: fruit, vegetables, meat, knives, pots and pans, cutting board and table.
Cooking*, the most ancient art of transmutation, has become over a quarter of a million years an unremarkable, domestic practice. But in this everyday practice, things perish, transform, nourish other things. Enchanting the fibers, meats, wood and metal with sound and painterly light, we stage a performance made from the moves (gestures) of cooking, scripted from the recipes of cuisine both high and humble. Panning features virtuosic chefs who are also movement artists, such as Tony Chong. "Cooking"is the first part in a series of performances exploring how everyday gestures/events could become charged with symbolic intensity.
Montreal New Music International Festival - February 2015
A performance choreographed around a chef and sonified objects: fruit, vegetables, meat, knives, pots and pans, cutting board and table.
Cooking*, the most ancient art of transmutation, has become over a quarter of a million years an unremarkable, domestic practice. But in this everyday practice, things perish, transform, nourish other things. Enchanting the fibers, meats, wood and metal with sound and painterly light, we stage a performance made from the moves (gestures) of cooking, scripted from the recipes of cuisine both high and humble. Panning features virtuosic chefs who are also movement artists, such as Tony Chong. "Cooking"is the first part in a series of performances exploring how everyday gestures/events could become charged with symbolic intensity.
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PLAY AS INQUIRY
Play as Inquiry asks how artists and scholars might construe their practices as play. This three-day practicum hosted by the Richard and Mary L. Gray Center for Arts and Inquiry features distinct and experimental approaches to research and production in various fields including game design, trans-media installation, public health, music composition, choreography, political science, experimental writing, and anthropology.
The installation depicted in the photographs was a sound and time condition exhibit. A visitor would speak into the long black tube and his or her voice would be embedded in the glasswork of the chemistry set. Water flowed from one flask to an other marking time and affectively adding to the soundscape. The sound of individual drops of water were electronically altered and passed through a transducer mounted to the underside of a metal container full of water. Each drop produced a vibration and each vibration imprinted its waveform on the surface of the water in the bowl. A camera mounted at the front of the exhibit looked at the brightness and movement of the candles flame. The data from the camera was collected and fed through a patch in MAX MSP and was sent to a set of dimmers that controlled the hanging lights above the chemistry set. The data produced by the candle was also used to effect the dynamic quality of the vocals embedded in the glass. |
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WUNDERKAMMER
The installation stands about 60 x 150 x 45 centimeters high, about the size of an old steamer trunk. It refracts the geometries and materials of the age of iron and crystal, and combines the mechanical tropes of Victorian science,
19c theatre techniques (such as Pepper’s Ghost superposition) with 21c live computational video and sound processing. Upon approach, you see a miniature stage in an ornate box made of crystal, wood, and metal. You see yourself projected inside the WunderKammer stage, a mixture of real and projected objects, present people and historical personages, material and immaterial textures, all in concerted movement. Unlike its mechanical forebears, the action in this responsive time crucible changes according to a specific composition as well as the contingent movement of the visitors.
It is a particular kind of time machine that travels from place to place, carrying doppelgangers, imprints, palimpsests, and ghosts of the people it meets. The WunderKammer is designed to serve as an apparatus within which we can explore some of the same themes of multiple senses of time, elastic and poetic modulations of people’s senses of rhythm, repetition, and corporeal memory, integrating five years of the Topological Media Lab’s media techniques and theatrical methods in the format of a miniature portable theatre.
19c theatre techniques (such as Pepper’s Ghost superposition) with 21c live computational video and sound processing. Upon approach, you see a miniature stage in an ornate box made of crystal, wood, and metal. You see yourself projected inside the WunderKammer stage, a mixture of real and projected objects, present people and historical personages, material and immaterial textures, all in concerted movement. Unlike its mechanical forebears, the action in this responsive time crucible changes according to a specific composition as well as the contingent movement of the visitors.
It is a particular kind of time machine that travels from place to place, carrying doppelgangers, imprints, palimpsests, and ghosts of the people it meets. The WunderKammer is designed to serve as an apparatus within which we can explore some of the same themes of multiple senses of time, elastic and poetic modulations of people’s senses of rhythm, repetition, and corporeal memory, integrating five years of the Topological Media Lab’s media techniques and theatrical methods in the format of a miniature portable theatre.
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LES PERSIENNES ET LES SORTILÈGESSomeone's behind those Venetian blinds. A finger slips over an edge and pulls them down. Two fingers, four. A pair of lips mouth your name. Then eyes appear from a darkened room, seeking to connect with those on the other side. Who is it? And how does he or she know you, standing at the window, if she's only a ghost of a ghost. A seductive, beguiling interactive work veiling and unveiling perceptions.
Who is the seer, and who or what the seen? Come to the Goethe Institute / La Nuit blanche, when *Alkemie animates the windows with responsive video-performers haunting video-persiennes. |