From Viola to Perconte
2. Perconte's comments. See 1. Our first impressions.
(Our translation, subject to revision).
Jacques Perconte presenting Mistral, on Sept. 20 at Collège des Bernardins, Paris.
Hi, Pierre. Thank's for your incredible enthusiam. You place me in such a lineage. Your title is the most flattering title given to a text about my oeuvre.
The work called Mistral is exactly 9,50 x 3,90 meters.
There are no drums nor any (stricly speaking) music. The sound track builds itself along with the film mounted, in front of our eyes. So, the musical loop duration is identical to the image loop. From time to time, a canoe, or the wind, trigger a thump that is felt as a drum. There are actually no other sound than coming from the Nature which was around us: waters, birds, dicadas, winds and oars.
As for rhythm, a long cyclical patch appeared during the opening's screening. But the sequences last from 20 seconds to around 20 minutes in this version (they can last several days in other works like Santa Maria Rocha for example).
Cuts can start in the strongest abastraction as well as in the simplest realism. What counts is the loop length, finally. If it is short, what is recognizable will disappear.
As it is a sort of meditation/film, there is no visible plot sructure. It is a call to calm, to let-it-go, to let meaning emerge from desire. I wanted this work to be free of narrative tensions. But it is impossible. So, the random mounting and cuts loops write sometimes, without intention, narrative forms. There, during some time (be it within a cut or a set of cuts), rhythm will raise, image will get more intense, sound will hold a tension. And this tension may be strong.
J.P. 9/20/2014.
DICCAN'S PARTNERS:
Paris ACM Siggraph, the French chapter of ACM Siggraph, worldwide non-profit organization of computer graphics.
