- Installation/CD-ROM: La morsure
- Direction+Choreography : Andrea Davidson
- Scénario : Andrea Davidson & Douglas Edric Stanley based on the poem “Le bûcher où brûle une” by Julio Cortazar
- Performers : Toni d’Amelio & Fabrizio Chiodetti
- Interactivity design : Andrea Davidson & Douglas Edric Stanley
- Camera: Douglas Edric Stanley
- Stylist: Colette Stanley
- Development: Douglas Edric Stanley & Olivier Koechlin
- Music: Dominique Besson
- Interactive Sound Design : Dominique Besson & Olivier Koechlin
- Musical performance : Vascen Solakian (saz, kamentchi, guitare)
- Production assistant & Image treatment: Denis Juge
- Production partners : le Laboratoire Esthétique de l’interactivité, University of Paris 8, le Conseil des arts et des lettres du Québec, le Conseil des Arts du Canada, le Centre Culturel Canadien, la SACD, la Fondation Beaumarchais, le Ministère de la Culture (Direction de la Musique et de la Danse) and Hyptique.
- Video: La Morsure (mp4)
- Video: La Morsure, prototype (mp4)
“La morsure” was a collaboration between myself and the Canadian choreographer Andrea Davidson. This project began as pure research in 1997, as can be seen in the prototypes we developed for the Canadian Arts Council. We then went on to form a small production team, shooting, editing ourselves, while I took care of the programming. This piece, which has been shown as an installation in various art festivals, is also scheduled to be edited as a CD-Rom by the French design firm Hyptique.
“La morsure” is based on a Julio Cortazar poem, in which a woman is betrayed by her lover and burned at the stake as a witch. Here, the two lovers are at the “opening” of the CD-Rom, and are getting dressed, so to speak, through the interactor’s gestures. The narrative will then unfold to re-enact, much like the historical witch inquisitions, the fatal acts leading to betrayal.
The “intimate” nature of interaction was intentional. We wanted to explore other possibilities than the typical point-and-click interface. Instead, a narrative unfolds by simply moving the mouse, which in turn moves the dancers and advances the story. No cursor, just movement. Also, by “pushing”, rather than clicking, the mouse button, images can be pushed and pulled, allowing for a smooth, choreographic, user controlled montage. This sophistication led to the necessity of a generative narrative engine which was specifically designed for the project. The computer had to be “taught” the plot, as well as the choreographic, and stylistic color, lighting and angles we had put into place during the filming process.