“Time out of Time” animation archive

  • Creation: Golnaz Behrouznia
  • Date: 8/16/2019
  • 01-FirstRoundRitual (00:01:40)
  • 02-SecondRoundRitual (00:01:30)
  • 03-ThirdRoundRitual (00:01:40)
  • 04-Formingcircle2 (00:02:20)
  • 05-UniverseOrbites3-correct2 (00:01:03)
  • 06-2minutesolosCorrection (00:02:02)
  • 08-Equalizersansjeufondu (00:01:17)
  • 09-ZigZag (00:01:04)
  • 10-EndOfCeremony4 (00:03:07)
  • 12-2groupes2Fondu (00:01:31)
  • 13-SceneFinale4 (00:02:10)

“Time out of Time” animation story board

  • Creation: Golnaz Behrouznia
  • Date: 7/22/2019
  • Scene 1 : opening – Solo Anas : 1’30
  • ○ Image : No
  • ○ Sound : No
  • ○ Lights : 1 spot on each side of the stage facing Anas at low intensity
  • First round of ritual : 1’30
  • ○ Image : Dual shapes with saturated matter
  • ○ Sound : low noisy drone evolving (from Amman city ambiances
  • ○ Lights : same as previous + a side spot a the opposite of the dancers entrance facing them, low intensity.
  • Second round of ritual : 1’20
  • ○ Image : small particles and drops shining , apearing and disapearing at different places of the screen
  • ○ Sound : development of the previous low drone with medium and high resonnant parts of the spectrum.
  • ○ Lights : same as previous
  • Third round of ritual and forming the line : 1’25
  • Until Kate joins Anas, everything remains the same but starting from this point :
  • ○ Image : liquid matters joining together and build a single floating mass above the head of the dancers
  • ○ Sound : a new layer of sound is added with inner cyclic movements
  • ○ Lights : same as very beginning
  • Second round of ritual : 1’20
  • ○ Image : small particles and drops shining , apearing and disapearing at different places of the screen
  • ○ Sound : development of the previous low drone with medium and high resonnant parts of the spectrum.
  • ○ Lights : same as previous
  • Scene 3 : the universe / orbiting – 1′ – Part 1 :
  • ○ Image : the water disapears and the circle multiply itself and we have several circular elements spinning
  • ○ Sound : low motor like sound is divided in several tinny ones with same dynamic shapes at a higher speed.
  • ○ Lights : side spots on the floor
  • Part 2 :
  • ○ Image : a giant vortex appears progressively and “eats” the whole image. ○ Sound : acceleration of the sounds going to merge in a single strong low frequency.
  • ○ Lights : is disapearing progressively HERE we propose to move the part «Zig-Zag» after «Equalizer» and have like 2’ of images and sound only.
  • Scene 4 : Compass – 1′
  • ○ Image : No
  • ○ Sound : percussive sequence upon notions of rebounds and offset which tends to structure a rythmic pattern
  • ○ Lights : side spots on the floor
  • Scene 5 : Equalizer – 2′
  • ○ Image : a mass of spaced drops apears on the whole screen. It allows to see the dancers and at the same time immerges them in a kind of aquatic matter
  • ○ Sound : development of a rythmic pattern
  • ○ Lights : side spots on the floor
  • Scene 6 : Zig-Zag – 1′
  • ○ Image : 2 strips with straight lines moving in opposite directions at different speeds
  • ○ Sound : de-construction of the rythmic pattern by use of shuffling and stretching of the sound matters/
  • ○ Lights : side spots on the floor
  • Scene 7 : End of the ceremony – 1′
  • ○ Image : vertical lines apearing very progressively and concentrated in the middle to create a surface almost round (gathering and crystallization of the liminal matter)… then the image disapears with the first snap of the dancers.
  • ○ Sound : Breathe morphologies thinner and thinner but at the very end, a big and quick crescendo of noise with a clean cut just before the snap.
  • ○ Lights : side spots on the floor at low intensity first then same screscendo as sound.
  • Scene 8 : Break the trance – 1′
  • ○ Image : No
  • ○ Sound : The first snap to the dancers trigs a very stable soft low sound during the Daniel’s solo. As the group is stepping backwards, a pulse is started and lasts until the end of the scene.
  • ○ Lights : side spots on the floor medium intensity
  • Scene 9 : 2 groups – 3′
  • ○ Image : Two big semi-circles on the side of the screen are spinning and inside them several little semi-circles or small vortex that group them together
  • ○ Sound : variation around a pattern of 3 elements derived from the count of the dancers mixed with a breath-like sound following a slow panning from left to right and back
  • ○ Lights : side spots on the floor low intensity
  • Final scene : the layers of liminality
  • A proposal for a scene without choreography – 1’30
  • A very dense and immersive matter made with a multitude of shapes but it becomes slowly a single big one that invades all screen space. A big wave of intense drops. Then this is covered by a layer of folds which comes down from the top on the whole screen.

“Time out of Time” scene/sequence sheet

  • Name: “Time out of Time: a special place” Scene/Sequence Sheet
  • Date: 7/20/2019
  • Artist: Sound Artist François Donato, Visual artist Golnaz Behrouznia, Dance Artist Abd Al Hadi Abunahleh, Dance Artist Anas Nahleh, Visual Artist Ren

Scene 1: Opening 00:00 – 05:00

Scene 1 Notes:

1. François: Where are the audience? Play the video without sound.

2. Abd: breakdown of the scene: Slow-motion walking -> run -> stop -> normal walking

3. François & Golnaz: What is Anas dance quality? Is there a contract between Anas and the rest of the group?

4. Abd: This is the introduction. Keywords: system, group, pattern VS individualism Anas is the exceptions. The group will eventually join Anas. There are different dimensions and subjects of liminal experiences, such as Individual, group, society experiences. Rite of passage: is a ceremony or ritual of the passage which occurs when an individual leaves one group to enter another. Rites of passage have three phases: separation, liminality, and incorporation.

Scene 2: Forming Circle 05:00 – 07:00

Scene 2 Notes:

1. Abd: Anas is the transformation agent. He initiated change. This is the beginning of a ceremony.

2. Golnaz: I had the idea of lines and swirls.

3. François & Golnaz: If Golnaz could come on August for the performance, we could synchronize the projected videos and switch of center of the dance choreography very well. Golnaz can play live.

4. Abd: There are 3 centers. One is Anas at the one side, one is Ziad in the middle, one is Emram at the other side. We switch centers from Anas to Emram, from Emram to Ziad, ect.

5. François: Two things change. Center changes. Tempo changes.

6. Golnaz: I drew something new. It is geometric.

Scene 3: The Universe 07:00 – 08:00

Scene 3 Notes:

1. François & Golnaz: Is the speed the same? Does the speed increase?

2. Abd: breakdown of the scene: forming a circle->the universe->forming a circle

3. François & Golnaz: Circle is a system. It could evolve. We can try to push the limit of the system to provoke change. If the system is exhausted, change will occur.

4. Golnaz: We can try to move as slow as possible, really push the limit.

Scene 4: Zig-zag 08:00 – 09:00

Scene 4 Notes:

1. Abd: I intend to create a system, to create order and chaos.

2. François & Golnaz: It is interesting to play physics.

3. Abd: We can define the scene and show the difficulties of the movement and formations. We could give enough efforts of each experiments and tests.

Scene 5: Compass 09:00 – 10:00

Scene 5 Notes:

1. François: Why do they move only their legs instead of their arms?

2. Abd: Collectively, seven dancers as group is a drawing tool. Individually, each dancer is also a drawing tool. This scene is inspired by the technical drawing instrument: compass. I am intended to create infinite loops or infinite circles.

3. François & Golnaz: A pair of compass has two legs, the straight or the steady leg and the adjustable one. It is interesting to see dancers balance between the steady leg and the adjustable leg. We could consider playing with the idea of losing balance or struggle to keep balance.

4. Abd: This is scene is also inspired the spinning coins. Seven dancers also collectively spring back and forth.

5. Golnaz: I think of the bouncing spring effect.

Spinning quarter on white.

Scene 6: Equalizer 10:00 – 12:00

Scene 6 Notes:

1. Abd: This scene has a sense of separation.

2. Ren: Are dancers facing the audiences or facing the side of the stage?

3. Abd: Side of the stage. After this scene, dancers form the universe again. (30 seconds)

Scene 7: End of the Ceremony 13:00 – 14:00

Scene 7 Notes:

1. Bashar: There is a scene which is not recorded. Dancers are weaving to each other.

Scene 8: Break the Trance 14:00 – 15:00

Scene 8 Notes:

1. François & Golnaz: Is this the moment braking the mechanism? We suggest to have no sound but the snap. There is another moment we can have no sound but the stage live sound. That is the moment dancers step. The stepping sound is interesting. 2. Abd: It is a moment audience come back to reality. The previous scenes may induce audiences into a trance. When I was watching, I tried to count. But for many times, I lost count. Sometimes I had a hypnotic experience. When dancers move forward and backward, I image them getting stuck in time.

3. Abd: There is sequence that dancers form a group; some lay on the floor.

4. François & Golnaz: For this sequence, we expect an acceleration. There are moments look like a quick version of previous movements in a sequence. To the audience, this might be repetitive.

Scene 9: Two Groups 15:00 – 18:00

Scene 9 Notes:

1. Abd: Seven dancers are divided into two groups of four and three. Four dancers are form a plus sign. Three dancers form another pattern. Seven dancers eventually join together. The division also echoes with the concept of the separation.

2. François & Golnaz: It is interesting to have two groups doing different things at the same time. But for a while, it is hard to know where to focus. We can actually guide the audience to focus on one group, then shift to another, then back to the one before by varies ways.

3. François: I see a pendulum effect.

4. Abd: The two groups actually influence each other.

Dance, sound, visual art and multimedia( July 20 Rehearsal)

  • Location: Osama El Mashini Theater, Amman, Jordan
  • Artist: Sound Artist François Donato, Visual artist Golnaz Behrouznia, Dance Artist Abd Al Hadi Abunahleh, Dance Artist Anas Nahleh, Visual Artist Ren, Dance Artist Emran Alamareen, Dance Artist Daniel Issa, Dance Artist Nadeen Dabass, Dance Artist Kate Port, Dance Artist Ziad Hajir
  • Date: 7/20/2019
  • Duration: 240 minutes

This dance production is inspired by Liminality, “a threshold”. Humanistic psychologists describe “the ‘out-of-this-world’ quality associated to liminality a sort of trance-like feeling. Analytical psychologists have often seen the individuation process of self-realization as taking place within a liminal space.

Individuation can be seen as a “movement through liminal space and time, from disorientation to integration…. What takes place in the dark phase of liminality is a process of breaking down…in the interest of “making whole” one’s meaning, purpose and sense of relatedness once more”.

The final result will be a live performance. It will be presented across gallery, stage, and public space.

Dance, sound, visual art and multimedia( July 19 Rehearsal)

Since 2014, Amman based Dance Company Studio 8, has been calling all artists of any discipline (visual, digital, coding, installation, film, photography, painting, art managers, musicians, event managers, students, producers, curators) to work together, to collaborate, to create side by side, loosening boundaries between artistic labels, in favor of a more open and flexible view toward the art experience itself.

Building on this approach, from 18 to 25 of July 2019, Studio 8, made possible by the support of Al Mawreed Al-Thaqafi, organized a production residency bringing together an artist duet of French sound artist François Donato and French/Iranian visual artist Golnaz Behrouznia. and five performers based in Jordan, with the aim to create a concrete project that is crossing borders of genres and disciplines: dance, performance, visual arts, performative arts, animation, projection, coding, etc.

Prior to the residency, six dance artists have developed 15-20 minutes movement sequences. For the first day of the residency, visual artists, sound designer and dance artists shared their thoughts on the movement-design-in-progress, explored the connections between movement and visual arts, performative arts and sound, installations and dance. For the second day, artists met in Osama El Mashini Theater tasked to expand the possibilities of art through the merging of disciplines in an experimental process of collaboration.

  • Location: Osama El Mashini Theater, Amman, Jordan
  • Artist: Sound Artist François Donato, Visual artist Golnaz Behrouznia, Dance Artist Abd Al Hadi Abunahleh, Dance Artist Anas Nahleh, Visual Artist Ren, Dance Artist Emran Alamareen, Dance Artist Daniel Issa, Dance Artist Nadeen Dabass, Dance Artist Kate Port, Dance Artist Ziad Hajir
  • Date: 7/19/2019
  • Duration: 240 minutes

Dance, sound, visual art and multimedia( July 18 Meeting)

From 18 to 25 of July 2019, an interdisciplinary ensemble of artists who shared a vision to create a dance production that an interplay between a dynamic choreography and an audiovisual immersive environment is presented simultaneously, took a 5-day-residency in Amman, Jordan between dance studio, hotel rooms and theatre. The dance production will be presented to audience in Jordan on August, 2019.

  • Location: Studio 8, Amman, Jordan
  • Artist: Sound Artist François Donato, Visual artist Golnaz Behrouznia, Dance Artist Abd Al Hadi Abunahleh, Dance Artist Anas Nahleh, Visual Artist Ren
  • Date: 7/18/2019
  • Duration: 120 minutes

Part 1: Watching rehearsal videos together

I like the choreography. I like its simplicity. I wonder whether we can restructure it.

Golnaz Behrouznia

There are a lot of singularity in the choreography. What we have thought about creating contrast. We could accelerate or intensify. We though about explore the element of time. We could create fraction of time, distortion of time.

François Donato

Part 2: Brainstorming together

I noticed that the background music chosen for the rehearsal is very mechanic. Would it be a good idea to add something organic, something unexpected, something with a completely different energy? Have you thought about a-surprise-sound?

François Donato

The rehearsal you have seen is the 1st layer we have designed so far. More layers will be added through out the time.

Abd Al Hadi Abunahleh

Part 3: Going through performance storyboard together

I imagine a black background with abstract white animations.

Golnaz Behrouznia

I imagine a series of animations, each lasts 30 seconds to a minute.

Golnaz Behrouznia

How do you image the light on the stage?

Abd Al Hadi Abunahleh

There will be a projector. There will be a moment of darkness, perhaps silence. There will be a moment of bright light on the performers. There might a moment of stillness, just the sound flowing. There might be a moment of when human presence disappears, only digital arts remain…

Golnaz Behrouznia

Bear in mind that my visual animations only make sense when with sound.

Golnaz Behrouznia

Part 4: What is next?

At the stage, let’s not focus on aligning dance, sound, visual art. Let’s experiment and explore on our own and meet again soon.

François Donato

I can imagine myself being inspired by sound and visual art. I look forward to our next meeting, our experiment of experiencing a sudden sound while dancing in our next rehearsal.

Abd Al Hadi Abunahleh

What do think of the costume?

François Donato

I imagine costume either in black or white.

Abd Al Hadi Abunahleh

We are designing an experience for the performers and the audiences.

Abd Al Hadi Abunahleh

Meeting Artist duet: Golnaz Behrouznia & François Donato

I am really delighted to start a new experience in this part of the world that I want so much to discover , Jordan , with François Donato and as part of a new artistic collaboration with Studio 8. Studio 8 (which is) dedicated to dance practices in Amman, with a very motivated team to expand its artistic experiences, invited us to develop with them the universe of their new piece “Time out of Time”. First residency in Amman Jordan July 18-25 .

Golnaz Behrouznia

Golnaz Behrouznia
http://www.golnazbehrouznia.com ​

Golnaz Behrouznia turned very early to the visual arts. The direction of her artistic work is guided for a long time by the major interest which she carries in the natural sciences, in the observation of the alive and its diverse dimensions.

Further to her studies in the Fine arts of Tehran she pursues her work of visual artist in Iran and participates in several collective and individual exhibitions in particular in the Saba Museum in Tehran in 2007, and several times between 2005 and 2008 in the art center The House of the Artists in Tehran. She won several prizes during biennial events and festivals as the third prize of the Iranian Academy of the Arts, during the 5th Biennial  of the Sculpture, in Tehran.

In 2008, she came in France to develop her work in the digital arts field in Toulouse.  
Since 2010, she presented several works and hybrid creations, between sculpture and multimedia creation as the scenography Labo Organika, at the gallery of the National School of civil aviation ENAC, to Toulouse in 2012, at the contemporary art museum Les Abattoirs, within the framework of the digital Forum of the Festival Novela, in Toulouse in 2011, as well as in the collective exhibition Vita Nova, Vivant festival, Gallery Claude Samuel, in Paris in 2015.

Her video installations were presented during the exhibition Are We Already Gone? Artists one the Art of Leaving, FlickerLab, New York 2014, in International meetings Arts and systems, in the art center Ciam-La Fabrique, in Toulouse in 2012.

In 2015 she created the interactive multimedia installation Lumina Fiction1 in association with the sound artist François Donato, with Xavier Malbreil’s curating, thanks to a grant of creation of Dicréam / CNC. This work was presented at the collective exhibition Hemispheres / Biennial of the Digital arts, Enghien les Bains in 2016 by Philippe Baudelot Currating, as well as in the International event of the digital arts, Abidjan, Ivory coast in 2017.

In 2017 she has created the interactive multimedia installation Lumina Fiction *2 with François Donato within the framework of a grant and support to creation of Clermont-Ferrand Communauté 2017. The work was presented within the framework of the Festival of digital art Vidéoformes in Clermont-Ferrand in 2017, in the Festival Tadaex, in the gallery Mohsen in Tehran in 2017, in Quai des Savoirs by the curating of Nomade Art center in Toulouse in 2017, and by Gabriel Soucheyres’s curating to the festival of digital art ADAF in Athens, Greece in 2017.

Her multimedia performance ElectroAnima-Experiment with the artist François Donato, was presented to the Festival OverTheReal in Italy, on 2017, and to the event Etat Instable, Patchwork-Emergent Arts association, in Mix Art Myris, Toulouse in 2017.

Her transmedia Scenography Vanimentis in collaboration François Donato, is presented in exhibition Label (2=3), in the art center Espace Croisé in Roubaix in 2017 and in the ElectroAlternativ Festival, to the Cultural center Bellegarde, Toulouse in 2016.

Other projects of Golnaz Behrouznia in the visual arts are in particular: 

  • The project Imaginary of the Vegetable Seeds, in reference to the images by microscope of plant elements, 1, 2 and 3 wallpainings, in collaboration with the artist Xerou, in the emergencies of the Chiva Hospital, in Foix in 2016 and 2017.
  • Both series of sculptures of floating bodies in gelatins or oil, congealed or mobiles, Floating Pieces and Aquatilium:
  • The series Aquatilium was presented during the event to Cross the Art, the Science and the Environment, in Sfax in Tunisia in 2015. This series obtained the Individual Help to the Creation of the DRAC Midi-Pyrénées in 2014.
  • The series Floating Pieces were presented to the Pavillon of the Arts and the Design in the Tuileries, Paris en 2013, during a collective exhibition in the Dey gallery, in Tehran in 2008 as well as in the monographic exhibition of the artist with Aria gallery, in Tehran in 2007.

François Donato

At first self-taught, he deepens his musical knowledge to the University of Pau (Master of musical pedagogy – 1989), to the Academy of Gennevilliers and to the Higher National Conservatory for Music of Lyon (electronic music composition).

He won several composition prizes, among them : Young Composers Contest in Orleans (1988), Noroit Composition Prize (1989) and Varese Composition Prize (1991).
Responsible for the musical production of the Groupe de Recherches Musicales (Paris) from 1991 till 2005, he is settled in Toulouse today where he used to manage the technical coordination for the collective of composers Eole from 2005 to 2017.

From 2007 till 2012, he was a speaker at the University of Toulouse Mirail, department Plastic arts & Decorative arts on sound design and interaction design.
He is now an independant artist working on several kind of Digital Arts and Musical projects, alone or in collaboration with other artists.

His works, firstly dedicated to the acousmatic music, are more and more developping in the field of Digital Arts.

He has received commissions by G.R.M., DAAD of Berlin, the French Ministry of Culture, Eole collective, Centre Culturel Bellegarde Toulouse, Teatro Massimo Palermo,Grant holder of the DAAD and the Technical University of Berlin in 1999/2000.

That is specifically the case for his collaboration with the visual artist Golnaz Behrouznia in their duet Imaginary Systems.

The concept is based on memory resurgence and aims to make sensitive the notion of springs of time. Physically, the installation is made of an array of small speakers distributed in the venue according to it’s topography and presented like sculptures. Each of them are augmented with an infrared proximeter sensor which detects the presence of a person nearby and triggers randomly some memory from a bank previously prepared with sound material recorded in the venue (voices, ambiances, noises…).

A Look behind a Master Piece

How did you go about working together to build this dance hybrid installation?

A new type of collaboration.

A massive part of the whole project is just to start to have a conversation, what interests us, what kind of things might stimulate further conversation or dialogues.

….. to give us a baseline in terms of rhythm to work on top of ….

Music is very physical too. Should it be following the dance and the set? Music touches you. It could hit you, or stroke your neck.

I don’t see art as an object. I see it as a relationship, a relationship between dancers, between dancers and the stage, between dancerss and the audiences…

Studio 8(Jordan)in collaboration with ImaginarySystems(France)

Imaginary Systems Collective

Thoughts / Proposals


Time Out Of Time

A transmedia performance

By Studio 8 – Jordan

In collaboration with ImaginarySystems – France

Golnaz Behrouznia / Visual universe & Stage

François Donato / Sound creation & computing

Date: 6/20/2019

A – Presentation of the collaboration by Golnaz Behrouznia


  • Studio 8 contacted me by showing its interest in my visual universe and my space installation.
  • I have visual work related to organic shapes, curves, aquatic environment, microscopic world or environments.
  • My mediums are between sculpture -drawing in motion -video or multimedia installation.
  • In my multimedia installations, the video projection has always faced a support in sculpted volume, thus seeking to give an embodiment to its contents related to life.

It is a meeting of plastics and digital materials and practices.


  • I proposed to Studio 8 to work on Time out of Time with the sound artist and computing designer François Donato my partner in Imaginary Systems, with whom we have conducted several collaborations in connection with my universe. Our works have already met several times and there is a coherence that can be established.
  • François Donato is inspired by and interested in Studio 8’s project, he agrees to join the project. Thus the collective Imaginary Systems will collaborate with Studio 8 in the creation of the show Time out of Time.


  • Imaginary Systems, echoing Studio 8’s project with its concept and choreography around liminality theme, will bring its visual creation, its scenic thinking, its sound creation by the two artists with above all the perception and the artistic line of the project team, for realization of the work Time out of Time worked out by Ab Al Hadi.
  • The whole work cannot be created and developed for the preliminary presentation of 2019 August 25, but only a part for it with a duration of about 30 minutes. The time is very short to interact/dig/create in an advanced way.

B – Golnaz Behrouznia ideas for the visual aspect & the stage

  • For the project that Studio 8 wants to address with my visual work on the theme of Liminality and all that derives from this concept, I think of a real influence of the image on the reading of choreography, of a tangle of choreographic work and my images because the two constitute together visual matters of the stage.
  • In the performance Time out of time, I think the image creates a virtual set for the stage. By building spaces, performance environments, by showing thresholds, by setting up partitions in the stage, we can set up a universe that transports the audience in its perception of dance nested in the images.
  • 3 levels of tulle or fabrics on the stage should be arranged in parallel with the stage, in connection with the choreography and the structure of the show. These fabrics can partially cover the stage in various places, some of them may use the total width.
  • The dancers can find themselves, in front between and behind the fabrics, depending on what we decide together between the image, the choreography and the sound.
  • A strong relationship of the image with sound makes the scene credible and embodies the universe of the decor. Sound gives a reality to the evolution of the image. They echo each other.
  • The images created by the videos are of two kinds: from drawings in motion and from materials generated by computer.
  • For drawings and shapes, more exchanges with Studio 8 can inspire me to design them more in tune with this team.
  • These images create fluid spaces in waves and movements on the stage.

At certain moments they can create 2 different environments at the same time.

  • Luminality influences me on the question of very delayed rhythms on various phases. Expressive climbs with slow calms.
  • There will be a sense of floating. Vertigo at times. Abstract materials. Aerial or liquid: as if sometime the performers were in a sea or on the contrary under fluid clouds.
  • The images create sorts of entrances, mouths in the space of the stage.

C – François Donato thoughts about sound and liminality


-> emergence

-> threshold, limit between two states

-> void and appearance

-> instability / stability

-> identity

The liminality would be simultaneously a place and a time that mark the possible transition from one state to another, at the psychological, relational level in particular. It is the breaking of a previously well-established continuum that reveals the possibility of change, a reconfiguration of the context and the exchanges that take place there.

In the multimedia choreographic project Time out of Time, the presence of a composed sound creation can articulate around this notion by working more specifically on the following situations:

  • emergence of sound from silence: an appearance process that does not involve development but merely implies an initial energy that can generate movement (note that the image can also function on this principle);
  • the transition thresholds between a sound presence given by the dancers on stage and its extension and development in a composedd sound broadcast on loudspeakers.
  • The process of organising a noisy and immersive sound material to articulate a musical writing, especially rythmic, or the appearance of a spoken speech, of a real situation. In particular it would be interesting to go and record, capture sound environments of Amman that bear the traces of identities and struggles that cross this region of the world.

Even if it is not a question of politicizing an artistic discourse or of falling into the literality of identity claims, I find it interesting to look for contexts where particular sound elements reveal both cultural roots and social reality.

Of course these tracks have to resonate with the visual and choreographic work. It will therefore be necessary to highlight the specificities of the writing of the sound according to the orientations chosen in common in order to avoid unnecessary redundancy between the elements of the show and to give priority to the openness of the imagination, the multiplicity of possible references and semantic complexity.

The sound must come here to weave the possible reference context of what happens on the stage, both in the action of the bodies and in the writing of the images. Whether this context is a reality from the outside brought back to the stage or the development of a dreamlike universe that extends beyond it, the dynamics of gestures and images.

From a device and performance point of view :

We can envisage at this stage both a fully determined composition with fixed durations and a generative composition, some aspects of which may vary from one performance to another. This will depend on time and financial conditions, the second solution requiring a greater investment of time and on-site presence.

In any case, it is surely preferable to think of a complete integration of image and sound diffusion within a software environment such as MaxMSP or Touch Designer or Hollyhock Factory.

From these dissemination tools, we can also imagine a direct link between bodies in motion and the behaviour of sounds and images. A form of interaction can be defined that would allow choreographic writing to change the course of visual and sound continuity by choosing in real time from among several possible options. This can be established quite simply and inexpensively with a set of piezzo sensors connected to the inputs of an Arduino board that would send this information to the computer.

Another element of the device is essential for the sound dimension, it is the choice of a multichannel diffusion system allowing at the same time a very localized and immersive writing in order to extend the main notions to the entire space of the representation.

D – A multimedia Timeline

  1. To create visual materials that echo Studio 8’s project and interact with François’ sound materials to have things on hand when I come to Jordan in July.
  • We see together, we test, so I continue adapting and finalizing these subjects in interaction with the choreography.

The choreography on its side, adapts and reinvents itself according to the visual and sound subjects for the stage in order to create a true creation and a coherence. The sound work is for me a soul to the whole visual scene: the image device + the choreography.

  • I finalize my work until the end of July for a delivery in


  • François Donato finalises the sound work on his side and integrates the visual and sound materials in his interface for the first presentation on August 25th .

E – Imaginary Systems preliminary statements


Floating fabrics, carrying moving images, are consistent with the notions of threshold and passage derived from the one of liminality.

Audio and visual echoes with concepts and choreography:

Seein the work of Ab Al Ali noted on the online sketchbook about ideas of movements and positions of the dancers, it appears quite clearly that it is a matter of starting from fairly simple and stable situations, often online disposal, which are modified by an imbalance that triggers movement.

This is consistent with our idea of differentiating spaces on the stage through the projection of images.

The idea of fluid materials in evolution of mass, speed and density is echoed in François’ proposal to work on the processes of organising a noisy material (the background noise of our society of communication ?)

towards well-defined musical structures (related to structured language).

The notion of passage, or threshold, being evidenced by the round-trip between the two states with variable mutation processes in speed and density.