That also means, you may need to remove it It needs to be on stage on top of my equipment, the outputs of my soundcard In Ears Wireless Monitor System (PSM900 for Example).1 small table offtsage right (wing if possible).one black microphone stand (no need for microphone).(Best choices from left to right looking at the pictures below) The base need to be heavy to counter balance the weight of the patches PROPS 2 speakers or light stand to hold patches I bring (ideally 5 feet high) Position : Maximum 20 feet (6.1m) from downstage center Material : Projection screen or White cyclo (need to touch the floor).Ī cyclo can be fine but it need to be tight, not crumpled STRIKE 10 minutes to strike off the stage, at least 1 hour to pack ORDER This performance need to be presented first (line-up)
ON STAGE 3 hours minimum (this includes soundcheck) It can be on sidestage, backstage, in the audience or in the lodge W30 feet x D20 feet (from screen to downstage)īACKSTAGE I need +/- 1 hour in a small space to prepare my equipment In this sense, the work and the artist arrive together at an exchange that determines the conditions of the visual and sound elements of the performance: blinding lightning and electricity conduction.įLOOR Need to see stage floor from the audience seatsīACKGROUND Absolutely need a white background (screen, wall).
He becomes the operator through whom the work is activated and brought into the real world.Ī veritable mimesis of electromagnetic current, the visual aspect can plunge the audience into a hypnotic state: the omnipresent imperceptible power that surrounds us is stripped of it mystery here and finally seems accessible to us.įIELD speaks to the invisible forces around us: their ascendancy and their interdependence.Īlthough they interact at an absolutely indiscernible level, they underlie our gestures and movements and carry us in a way. With FIELD, Messier gives material form to this otherwise inaudible, invisible flow. Variations between the ambient electromagnetic flow and the connections made by the artist generate an effect of fluctuation from one performance to the next – a fluctuation that constitutes the constant of the work. By his performative gestures, Martin improvises audiovisual configurations that are similar but never exactly the same. The sound and light composition emerges through a continuous movement of plugging and unplugging between the panels – the possibilities are endless. On stage, Martin Messier interacts with two aluminum panels with multiple patches whose inputs and outputs are interconnected. Even though they are intangible, they are subject to manipulation. In this performance, residual electric signals, imperceptible to the eyes and ears, are picked up by electromagnetic transducer microphones and become the materials of the work. FIELD starts from the principle that sounds can be generated from the electromagnetic fields omnipresent in the environment.
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