Trajets (2000) is an installation inspired by dance and visual choreography. Twelve motorised screens move slowly in response to the paths taken by the visitors through the space. Video imagery projected onto the screens is of moving bodies and kinaesthetic patterns. The installation is a kinetic, enveloping, responsive environment.
In the ground of trajets we can find two different research on kinetic movement: the first one is Fullers body screenography that uses body as a moving screen to create fantasy(here body itself disappears) and the second one is Mareys movement mapping that investigate body movements to figure out kinetic methode of our body. Through these artistic and scientific scope of movement perception and transformation is the screen stage stretching.
Trajets reduces the gap between action and representation. The screen is not only a projection surface, but also a dynamic participant in the screenography, with video and force-based reactions that move in relationship to the visitor in real-time. The screens in trajets do not separate the subject of the visitor's movement experience from its representation, but instead seek to develop a participatory dynamic which continuously maps and renders present movement perception between the participant and the given feedback experience. The visitor's body in trajets has the opportunity to experience its own inner-felt movements' kinaesthesia, a sense of empathy for other participant's movements and/or physical connection to the images. This physical internal reception of the public is described by visual and cultural critic Marks as haptic cinema a sort of visceral chiasmus of perception and moving images.
“haptic visuality” is a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory.
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