2015, generative video installation
875 x 200 x 90 cm
102 LED screens, 102 micro speakers, aluminum extrusions, 5V power supplies, custom PCB, cabling, CAN network, dataset of Faust-myth opera librettos (in English, French or Mandarin), single board computer, custom machine learnig software (content snake)
_Pitch
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 scrolling text and sound, reconstructing the phrases and melodies of the vocalist as bulks of sentences 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 our perception. On the edge where language loses its meaning, becomes abstract and pictorial. But also, where it can be reconstructed again.
_Operating principle
A simple machine learning algorithm (Markov chain with self-adjusting context depth) is trained on database of Faust-myth opera librettos (in English, French or Mandarin). It creates text sequences and melodies, that are scrolling through 102 fragmented LED-screen modules, and played on 102 small speaker on the back of each screen.
_Artistic statement
The structure of language – musical at its origin – is the source of this work. Based on texts and melodies originating from operas of the Faust myth (the epic of human curiosity and its limits), the installation explores the underlying contour of language.
The installation is made of industrial objects. 102 advertising screens, speakers and custom circuits creating an light and sound space, arranged in repetitive patterns. Phrases and melodies of the vocalists are constantly reproduced using machine learning software. Powerful algorithms, omnipresent in our society, which are in permanent interaction with us. Transforming our way to speak and write.
It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. Language which is pushed to its limits, where nothing is left but pure rhythmic and melodic structure. It is the organic nature of language, imitated by a machine. By reducing the vocal parts of the singers to small bits and pieces of melodies and text, the proper poetics – in all its absurdity – of the digital reveals.
“Does it really say that? … I try to focus the words … they separate in meaningless mosaic … “
William S. Burroughs, Naked Lunch
_Exhibitions
11.2019 City Sonic 2019 – Louvain-la-Neuve (BE)
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) –
Arsenal art contemporain – 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 – Le Fresnoy – Tourcoing (F)
_Project credits
<> Concept & realization: Lukas Truniger
<> Software engineer: Glenn Silver
<> Many thanks to Cyril Teste, Jean-Paul Delahaye, Eric Prigent, Christoph Gregorio, & Bertrand Scalabre
_Support
+ A production of Le Fresnoy – Studio national des arts contemporains
+ Supported by Bipolar in the framework of RUNAWAY
+ Material support by PJRC
_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)
