# 5
Interactions (2010-2011)
Interactions (2010-2011) (Immémorial #5):
The fifth version was presented several times, with some variants during the residencies in Marseille (2011):
- use of a camera embarked for projection of mise en abyme of the image (a formal technique in which an image contains a smaller copy of itself, the sequence appearing to recede infinitely), of the mobile point of view of a spectator (the Cité de la Musique de Marseille, installation created with Jean Delsaux, Marseille, 2011),
- sound spatializing with adaptation to the volume and to the architecture of the room (workshop in the GMEM, 2011),
- a blend of images and their 3D models (MAMAC, Nice, 2011),
- lastly certain memorial clips were punctually shown (Vidéoformes festival of Clermont-Ferrand, 2011)...
Two major accomplishments in this version: firstly the sound spatialization and the constitution of banks of sound textures, secondly the sound recording of voice-overs of a narrative. These voice-overs determine many visual and audio elements of the video clip, defining a universe, an atmosphere, a mood, a typology of recollections. I’m obliged to consider the relationship between the image, the sound material, and the voice-over (subtitled). I refused this time to saturate the senses of the spectator, I preferred to insert fadings of the sound and the image, in order to rhythm the demand of the senses of the spectator and to leave "empty" and silent moments, available spaces in imagination. Effectively, in the fifth version, I understood that our emotional, perceptive body really welcomes the technological resources only on the condition of being, at least partially, an actor of the mechanism. The meaning of being an actor in a multimedia work of art remains to be defined.
Each version is a calculated system, every sensorial element has been defined in advance, all the possibilities have been programmed by laws randomness and probability, by the computer. By pushing the buttons, which activate video sequences and control the inset display of the images and the navigation through files, the spectator interacts with the mechanism. But it works also in by withholding ; it is, in the silences I deliberately introduced, the blanks and the interruptions, the incoherence and the black screen that the visitor reconstructs the gaps of information and participles of the audivisual artwork.
*©Immémorial, PascaleWeber/GMEM/Euphonia/MIM/CRV/APRV/SCAM/LEEE
