general concept & choreography :
Nicole Corsino
Norbert Corsino
development of interactivities :
Samuel Toulouse
3D scenographies :
Patrick Zanoli
interpretation of motion capture :
Ana Teixido
Stefania Rossetti
Norbert Corsino
sound sequences :
Jacques Diennet
texts :
Claudine Galea
A sensitive navigation in harmony with the iPhone.
The poetic abstract kinetics of bodies and landscapes are increased by the tool. In return, the specifications of the object held in the hand are developed through interaction engines.
soi moi self as me is a portable installation that provides a perception of one’s own body, the body that is holding the iPhone, which is more friendly, in the sense that a real consideration of the sensible physical intelligence of oneself does not always happen. Fifteen interactive sequences of 1 to 2 minutes form the basis of the scenarios.
In soi moi self as me, motion capture choreographic sequences play with invisibility: the absence of an object or a partner creates unexpected physical situations. Technical processes emphasize the intention when they entail disappearance – or, more precisely, removal: that is, removal in the sense of alleviation or abduction.
Beyond the words of the title soi moi self as me, the construction of internal and external pressures invites some escapes towards a form of tensegrity– tensile integrity, which is closer to biology and architecture than to shamanism.
With soi moi self as me, the object held in the hand is seen as an extension of oneself, and the moi is constructed by pressures external to the person.
We like to think that choreography, music and sounds, scenography, light and images form parallel scenarios in relation to a chosen central theme. None of them is worked a priori as an illustration of the other or treated as a direct application. The same applies to the interactive mode. The cartography of representation is not superimposed on the user’s perceptive cartography: they correspond to each other in an appropriate language and a relational game engendering a narrative form.
Seeing dance is grasping it and capturing it instantaneously in several possible spaces of representation. The temporal continuity of this capture is not measurable, but it is deformable: it refers to a topological structure of the flow of time applied to the perception of movement. (Topologies de l’instant - Topologies of the instant, Actes Sud, 2001)
