Déjà Entendu – An Opera Automaton

source: lefresnoynet
La structure du langage – musicale à l‘origine – est le point de départ de ce travail. Basée sur des textes et des mélodies d‘opéras inspirés par le mythe de Faust (l‘épopée de la curiosité humaine et de ses limites), l‘installation explore les contours sous-jacents du langage.

Il s‘agit d‘une installation constitué d‘objets industriels. 102 écrans de publicité et 102 haut-parleurs créant un espace lumineux et sonore, composé de schémas répétitifs, projetant le virtuel dans l‘espace. Les phrases et mélodies des chanteurs sont constamment reproduites à l‘aide de logiciels d‘apprentissage-machine. De puissants algorithmes, omniprésents dans notre société, en perpétuelle relation avec nous, transformant notre façon de parler et d‘écrire.

C‘est un jeu avec les frontières de la perception. L‘instant où le langage perd son sens et devient abstrait. Un langage poussé à ses limites au point de ne conserver qu‘une structure purement rythmique et mélodique. C’est la nature organique du langage, imitée par une machine, qui révèle la véritable poésie (dans toute son absurdité) du numérique.
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source: vimeo
Generative installation, 2015.
The structure of language – musical at its origin – is the source of this installation. Based on texts and melodies originating from operas telling the Faust myth (the epic of human curiosity and desire), the installation explores the underlying contour of language.
The work is made of industrial objects. 102 screens and speakers creating an emergent space, arranged in repetitive patterns. Blowing up the virtual into space. Phrases and melodies of the vocalists are constantly reproduced using machine learning software. Powerful algorithms, which transform the way we act and think, omnipresent in our society and in permanent interaction with us. A new version of Faust is created, fragmented and with varying degrees of legibility, recreated in light and sound movements.
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. This reveals the proper poetics – in all its absurdity – of the digital.
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source: lukastrunigernet
Lukas Truniger
is a Swiss media artist, musician and composer. Born in Zürich in 1986, he obtained a music degree from the Robert Schumann School of Music and Media in Düsseldorf (D) and a post gradual diploma in fine arts from Le Fresnoy – studio national des arts contemporains in Tourcoing (F).
He engages in the areas of multimedia installations, performances and the creation of new musical instruments. He is fascinated by complex systems and hidden processes in nature as well as in society. For their exploration, hacked devices and misused tools have become crucial to his creation.
His installations and performances have been shown in the framework of international exhibitions and festivals, amongst others: International Digital Arts Biennal (BIAN) in Montreal (CA), International Symposium for Electronic Arts (ISEA) in Hong Kong, PrixCube (F), 100% in Paris (F), Marrakech Biennale (MA), Sound Art Cologne (D), E-Fest in Tunis (TN), Network Music Festival in Birmingham (GB) as well as Festival for Applied Accustics, Cologne (D).
He is represented by Bipolar, a production and distribution agency for digital art located in Montpellier (F).