La maison sensible (The Sensitive House)

Scenocosme (Grégory Lasserre & Anaïs met den Ancxt)in collaboration with Lola and Yukao Meet (Lola Ajima & Yukao Nagemi)
Source: Scenocosme (Grégory Lasserre & Anaïs met den Ancxt)in collaboration with Lola and Yukao Meet (Lola Ajima & Yukao Nagemi)

Gregory Lasserre & Anais met den Ancxt - Scenocosme

La maison sensible (The Sensitive House) , ongoing
Co-workers & Funding
Scenocosme (Grégory Lasserre & Anaïs met den Ancxt)
in collaboration with Lola and Yukao Meet (Lola Ajima & Yukao Nagemi)
Documents
  • La maison sensible
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  • La maison sensible
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  • Installation View
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  • Installation View
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  • Installation View
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  • Installation View
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  • Installation View
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Description
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.
Keywords
  • aesthetics
    • affective
    • animated
    • interactive
    • polysensory
    • tactile
  • genres
    • installations
      • performative installations
  • subjects
    • Art and Science
      • space
    • Arts and Visual Culture
      • panoramas
      • projections
      • spectator
    • Body and Psychology
      • bodies (animal components)
      • empathy
      • intimacy
      • movement
    • Nature and Environment
      • environment
Technology & Material
Hardware
video projector
audio system
sensors
Software
3D modelization/visual mapping
field recording (for sound)
Bibliography