marie-eve levasseur


visual artist









© marie-eve levasseur 2017
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An Inverted System to Feel (your shared agenda),
video, 7:10 min., 3D Animation, 2016

credits:

Voices:
Leslie Walter
Liza R. Moscovice
Marie-Eve Levasseur

3D Animation:
Marie-Eve Levasseur

3D Modeling:
Marie-Eve Levasseur
Alexander Lorenz

SCRIPT:

An Inverted System to Feel (your shared agenda)

CHARACTERS :
mother-system (old data-storage system, voice speaking from the museum of global data)
plant
bot (text)
inside (text)
girl (tattoo-ingenieur with prosthetic leg)

SCENE 1
We are flying over a landscape of skin. No hair.
The camera is floating over it, the landscape seem infinite.
The sky should be neutral (no physical blue sky)
Colour changes slightly to light blue on the right corner, the skin is glowing slightly, the camera follows the colour.

Sound of the voice (WOMAN-MOTHER-SYSTEM) + sound of a vibration and stomach sound.

SYSTEM :
- This is the softness of A skin. The product of my reproduction...
or replication, I don't know anymore. Was I even manufactured? I feel alive deep inside.

Well anyway. This delicate surface changes colour if its content is hungry,
so we don't need to make sounds or use words.
I can always feel slash/ decode the structured vibration of the color.

A communication based on signs that are easier to decipher for the human being of our time.
I'm not sure a mother-child connection was ever that strong.

Anonymous voice, woman.
- What do you know? Who are you ? You talk like a wrinkled storage device.

SYSTEM:
- I am a system. A mother too. My body hosted the whole data on a global scale. I now live in a museum.

SCENE 2
We see an empty shelf (computer network server memory shelf)
Then we zoom on a plant, on the top shelf.
It duplicates and is slightly moving. Like if there would be wind or maybe it's dancing.
SOUNDS OF WIND or SILENCE.

CHATBOT : (a window of text popping out of the right down corner)
- Hi! Can I help you?
A KID
- can you sing me a lullaby?

then nothing. the many plants dance slowly.

SCENE 3

Then there is just an empty world, with a prosthetic leg on the floor. An animated image of a car crash plays on it. Zoomin' in.

we hear a Description: PROSTHESIS
She had an artificial leg because of a car crash. The metal that once crushed her has been reused on her. What was a dumb fuel-driven machine has been melted and poured in a mold transforming it into a high-tech smart integrated new limb. It could now fuel on her energy to produce nanobots that would bring her limb's tactility back.

SCENE 4

Now we go from the prosthesis up to the skin of a body, it moves when she talks.
We see hair on the skin. Other body surface features (lips, tits, bellybutton, folds or nails) are mapped on the landscape. SYSTEM voice is off-scene.

GIRL :
- but my body is still A body.

SYSTEM :
- you sure?

GIRL :
- I'm humanimal said Donna.

SYSTEM:
- you are.
You're metal too. Don't forget me.

WE might see a tattoo machine now. It's animated and its needle enters the skin. It's maybe held by a black mat plastic glove.
Particles are bouncing on the skin, some enters it.

GIRL :
- In my field of work, skin is mere material.
A slippery smooth Surface.
It doesn't mean there is something inside.

SYSTEM :
- I remember when I was in charge of
content. It was situated somewhere here. Inside.
All of it. The so-called humanity was in me. Endless rhizomatous connections through me.
No sweat, no greasy folds, no curves and no end. At least I thought it would never die.

GIRL :
well, my work consist of keeping the content inside of them, of us, whoever it might be.

SYSTEM :
but your inside is not unlimited, unless you change your scale… can you do that?

GIRL:
I like elasticity.
I prefer to work on prosthesis skin, the one that you implant later on, when the particles are stable.
I don't like to give pain.

A skin without its insides, its organs, is easier to work with. But then you miss the content. No connections. Not yet.

The elasticity of the skin over time and the instability of the particles at the beginning were our biggest challenge. The constant connections with the brain and the translation of the signals were a big step in neurosciences, they had all the grants flowing to their brains.

Now the humanimal technohybrid body is able to control better its privacy. You can choose which content you let flow outside, and which content you keep inside.

SYSTEM :
- I was always afraid of small things. The nanoscale is scarier than all bedbugs in the world.

GIRL:
- you are not to be afraid, your thick linear timeless metal surface won't disapear so quickly. A museum is like immortality.

The dystopian voice :
Nobody speaks anymore.
I quite miss the voices.

Human DNA is now almost adapted to the new luminescent ink under the skin.
I heard last week that the first baby was born with a brand new screen-skin ready to program.
I wonder if her mother still sings lullabies before bedtime.

LULLABY?

SCENE 5 (optional)
Now we are inside the body somewhere. Play particles in it. Make them fast. And then slow. Zoom in.

INSIDE : (written)
- We bring the signals to the particles and they interpret them. We have to travel along a very complex system of nerves.
SYSTEM : (voice)
-how fast are you
INSIDE :
- We are as fast as feelings.
SYSTEM :
- well that's not as fast as me.
… but where do you go
INSIDE-INK-NANOTHINGS:
- We are not able to choose, and our vessel is not always able to control us.
They got the idea when they discovered that plants communicate in a network, just like you.
We live on a surface and constantly,
directly connected with the brain and nervous system of the same body, you'll find us.

Take the organs and applications. Put them on a flat elastic surface.
Show me how they glow when they connect.
Can you feel your agenda?

Vibrations : notification : my next meeting. I have 15 minutes to connect or displace.

- If I reproduce, will it know ABOUT ALL MY APPOINTMENTS?

Is Data gaining stickiness being muted to the organic system?
Is this supposedly objective external Data going to die one day so we can make a processual monument and remember how we stop selling it?
Is death something I should be afraid of? Is Data afraid of death? Is there any backup plan? Should we open a museum?

WINDOW-BASED:

THE CLINICAL SHOP

I am a window. I know what's on my surface, I know why I exist. I know what's on both sides of myself, spaces they would call inside and outside. But for me they are only sides, both busy and full of flowing visual information. Bodies and fassades just alike, just an autonomous surface material for contemplation.

If you cross sides and enter me, you'll see what they call my inside: a clinical cold white light with cold white walls. This clean interior has working organs with hairs as antenna.
I have a delicate plant, an internal integrated computer and many human bodies dressed in white with non-transmissive fabric and working in the room. Those bodies, called surgeon-ingenieurs, are anonymously and constantly working on human surfaces with extension tools, buzzing in an arythmic soundscape. The noise these tools make is like bumblebees although they actually act more like wasps, relentlessly stiching the skin of the future user.

The implantation of the programmable luminescent nanoparticles is still made in a very primitive way, but with a high-tech and hygienic control of the procedure.

DYSTOPIA
Nobody speaks anymore.
I quite miss the voices.

Human DNA is now almost adapted to the new luminescent ink under the skin.
I heard last week that the first baby was born with a brand new screen-skin ready to program.
I wonder if her mother still sings lullabies before bedtime.

Sound:
Marie-Eve Levasseur