»La maison sensible (The Sensitive House)« 
Light Box
Light Box
© Scenocosme (Grégory Lasserre & Anaïs met den Ancxt)
in collaboration with Lola and Yukao Meet (Lola Ajima & Yukao Nagemi)
Keywords
Information
Gregory Lasserre & Anais met den Ancxt - Scenocosme >
»La maison sensible (The Sensitive House)«, 2015
Co-Workers & Funding:
Scenocosme (Grégory Lasserre & Anaïs met den Ancxt)in collaboration with Lola and Yukao Meet (Lola Ajima & Yukao Nagemi)
http://www.scenocosme.com/maison_sensible_e.htm
Technology
Hardware
video projectoraudio system
sensors
Software
3D modelization/visual mappingfield recording (for sound)
Descriptions & Essays
scenocosme scenocosme : Grégory Lasserre & Anaïs met den Ancx 18-03-2015
Scenocosme (Grégory Lasserre & Anaïs met den Ancxt)
in collaboration with Lola and Yukao Meet (Lola Ajima & Yukao Nagemi)
La maison sensible is an interactive installation that augments the physical space and the relationship between an onlooker and a fragile and subtle environment.
The artists use different types of discrete sensors to transform the walls, the furniture, the floor of an exhibition room staged as a living room, into delicate, sensible, sensitive, and reactive interfaces.
The idea is to create a work that will be revealed if the viewer enters the space being attentive and empathic to what is going on. It develops into a visual and auditive environment that mirrors the body by revealing an interactive audiovisual organic space on which spectators leave footprints experienced as scars by the physical room.
The floor and walls of this room are made up of hundreds of thousands of fragile video-projected particles. They are all quiet and nicely ordered when the room is empty and silent. Only a slight breathing motion is perceptible. They slowly and gently draw mesmerizing figures.
Interactive scenario
The visual and sound environment is produced in response to different types of behavior of the spectators. Each surface is sensitive: walls, floor, and furniture reveal shades and sound environments that evolve with the qualities of interactions.
If visitors interact with sensitivity and gentleness, the room responds by engaging in respectful dialogue through harmonious sounds. If the activity becomes too noisy, the room reaches the limits of its empathic behavior, and the sound withdraws and fades.
When a viewer enters the space and talks loudly, or stamps her feet on the floor, or by touching the furnitures in a non-respectful way, these particles are panicking, and repel each other like clouds of microorganisms in stress. They then seek refuge in the periphery of the room and wait for the room to be again calm and quiet.
On the contrary, if the viewer enters with respect in the room and tries to establish a dialogue by gently touching, tickling, or stroking furniture or walls, these particles reveal other facets of their temper.
If viewers have abrupt responses, the work will freeze in a state of fear or anger. With overly violent actions, the particles disappear. But if they offer him attention, listening, the installation then reveals delicate and soothing soundscapes. When everything becomes quiet, the space is progressively repopulated. When the room is empty, the space has a breathing activity, stable, quiet, almost like sleeping/meditating.
scenocosme scenocosme : Grégory Lasserre & Anaïs met den Ancx: La maison sensible (The Sensitive House), 18-03-2015, in: Archive of Digital Art Scenocosme (Grégory Lasserre & Anaïs met den Ancxt)
in collaboration with Lola and Yukao Meet (Lola Ajima & Yukao Nagemi)
La maison sensible is an interactive installation that augments the physical space and the relationship between an onlooker and a fragile and subtle environment.
The artists use different types of discrete sensors to transform the walls, the furniture, the floor of an exhibition room staged as a living room, into delicate, sensible, sensitive, and reactive interfaces.
The idea is to create a work that will be revealed if the viewer enters the space being attentive and empathic to what is going on. It develops into a visual and auditive environment that mirrors the body by revealing an interactive audiovisual organic space on which spectators leave footprints experienced as scars by the physical room.
The floor and walls of this room are made up of hundreds of thousands of fragile video-projected particles. They are all quiet and nicely ordered when the room is empty and silent. Only a slight breathing motion is perceptible. They slowly and gently draw mesmerizing figures.
Interactive scenario
The visual and sound environment is produced in response to different types of behavior of the spectators. Each surface is sensitive: walls, floor, and furniture reveal shades and sound environments that evolve with the qualities of interactions.
If visitors interact with sensitivity and gentleness, the room responds by engaging in respectful dialogue through harmonious sounds. If the activity becomes too noisy, the room reaches the limits of its empathic behavior, and the sound withdraws and fades.
When a viewer enters the space and talks loudly, or stamps her feet on the floor, or by touching the furnitures in a non-respectful way, these particles are panicking, and repel each other like clouds of microorganisms in stress. They then seek refuge in the periphery of the room and wait for the room to be again calm and quiet.
On the contrary, if the viewer enters with respect in the room and tries to establish a dialogue by gently touching, tickling, or stroking furniture or walls, these particles reveal other facets of their temper.
If viewers have abrupt responses, the work will freeze in a state of fear or anger. With overly violent actions, the particles disappear. But if they offer him attention, listening, the installation then reveals delicate and soothing soundscapes. When everything becomes quiet, the space is progressively repopulated. When the room is empty, the space has a breathing activity, stable, quiet, almost like sleeping/meditating.
Literature
Christine Hooker and Sara Verosky and Laura Germine and Robert Knight and Mark D'Esposito. »Mentalizing about emotion and its relationship to empathy.« Social Cognitive and Affective Neuroscience , no. 3 (2008): 204-217.
Exhibitions & Events