Copyright SdG 2023 - All rights reserved
A cycle or "grand cycle" of the Labyrinth of Time is a digital or mixed creation (with instrumentalists etc.) invented or controlled in real time by LDT algorithms. This creation is different each time.
From a small to a large form of the LDT
In its “small form” version, a cycle is a large screen projection and sound spatialized around the audience via the computer and LDT programs (or sound part only).
In a “large form” version, the device of a “grand cycle” is mixed, with the possibility of associating instrumentalists, dancers, actors, in addition to real-time electronics (synthesis and transformation), all always controlled by the algorithms of the Labyrinth of Time.
This major cycle can be naturally associated with the satellite works of the LDT.
A strategic and aesthetic issue within the LDT
The creation of a cycle is unique in the overall Labyrinth. Fully automated or in interaction, the algorithms create the present of the labyrinth instantly, the work is not reproducible outside of a recording of a creation.
In a certain way, the LDT algorithms invent an original antecognitive space , a sort of chaotic polysensory matter questioning present time in its relationship/non-relation to the past and the future. This space of sensation is at the limit of thresholds, close to rupture, over-information and extreme speeds, dilation of time, discontinuity, heterogeneity: the LDT algorithm fights against the appearance of an immediate memory, defying relationships causal and the very notion of space-time. The full becomes empty, the presence of sound, of image... transforming into a feeling of absence.
In another way, superimposed on this chaotic and unpredictable impression, the sound and visual material here contains its own story. Matrix combination, combinatorial calculations, Euclidean or non-Euclidean transformations, etc., introduction of fixed supports which are themselves distorted in real time by the large cycle programs, time and absence of time (extracts from videos which become still images and virtual tables) , determinism is at work here by defining a conscious and unconscious rhizomatic memory space , within a cycle itself or in relation to the satellite works of the LDT. The combinatorial processes calculated algorithmically in deferred time to write instrumental scores for example (satellite works) are also stored within the large cycle algorithm to serve in real time the control of the parameters of the material, both within the framework of processes synthesis or transformation.
The experience of the Labyrinth and the relationship between a large cycle and the satellites of the LDT teaches us that deterministic writing processes are not opposed to probabilistic processes. Chance can here generate determinisms, even unpredictable ones, determinism being able to become a source of chaotic creation.
In this complex of relationships/non-relations, the listener has his own experience, like the trace of a possible presence/absence, one of the challenges of writing the work in its entirety.
Below “Tremblement os qui perle”, created in 2023 in Japan at the “TOKYO23 3D Sound & Art Festival” extracted from the algorithm of the large real-time cycle, on a text from Labyrinth extracted from the Verticale memoire cycle (release on CD ACEL 2023), with for the occasion an illustration of virtual LDT tables.