Déjà Entendu | An Opera Automaton

generative installation, 2015
LED screens, custom PCB, electronics, CAN network, single board computer, aluminium profiles, software, machine learning (content snake)
8.75m x 2 m x 0.9 m

The installation is based on texts and score from operas telling the Faust myth – the epic of human curiosity and desire. 102 LED screens and just as many speakers are arranged in repetitive patterns to form an emergent audiovisual sculpture. An ever ongoing interpretation of Faust is created in fragmented movements of light and sound, reconstructing the phrases and melodies of the vocalist as text bulks and sonic clusters (using the same kind of machine learning software which is omnipresent in our daily life). It is a game with the boundaries of perception. The point where language loses its meaning, becomes abstract and pictorial. This reveals the proper poetics – in all its absurdity – of the digital.

_Exhibitions
12/2018   (Re)Model the World
Pearl Art Museum – Shanghai (CN)
03/2018   Safra‘Numériques – Amiens (F)
09/2017   Langages Machines – Fondation Vasarely – Aix en Provence (F)
06/2016   3rd International Digital Arts Biennal (BIAN) /
Montréal (CA)
05/2016   ISEA2016 Cultural R>evolution – Hong Kong
04/2016   Prix Cube 2016 – Issy-les-Moulineux (F)
03/2016   100% – La Vilette – Paris (F)
09/2015   Panorama 17 – Tourcoing (F)

_Press
* usbek & rica (FR)
* Telerama (FR)
* La Terasse (FR)
* Swissnex Boston (CH)
* Creative Applications (UK)
* WE DEMAIN (FR)
* L‘oeil #689 / L‘art en 2050 (FR)
* Telerama (FR)

_Support
+ A production of Le Fresnoy – Studio national des arts contemporains
+ Supported by Bipolar in the framework of RUNAWAY
+ Material support by PJRC

_Project credits
<> Concept & realization: Lukas Truniger
<> Software engineer: Glenn Silver

Le Fresnoy – Panorama17 – © Lukas Truniger, Lucie Menard
Langages Machines – Fondation Vasarely – © Lukas Truniger
Safra‘Numériques 2018 – © Lukas Truniger

(Re)Model the World – Pearl Art Museum, Shanghai (CN) – © Lukas Truniger
100% – La Vilette, Paris – © Christophe Raynaud de Lage