Omnipresent UFOs in Science and Ethics debates, intelligence and artificial creatures have been peeking the collective curiosity since the beginning of time. The To be or not to be artificial? exhibition invites visitors to take a poetic plunge into both notions from two lines of thought. The exhibition’s design and perspective emerge thanks to scientific contributions dating back to the 19th century, among which include machines, tools and inventions.
Exposed within this space dedicated to those with a passion for Alternate History, and whose resemblance to the experiments carried out in James Whale’s Frankenstein need no introduction, are the works of artists having gotten hold of what has drawn artificiality and humanity together in the past and how that very same connection plays out in today’s society. The past-present dialogue is the chance to spur the questions surrounding not only Man’s timeless desire to recreate the conscience, but also the perplexing nature of his attraction to the Machine. In addition to putting in place artistic gateways aimed at bridging the gap between the plastic arts and cinema, the Parcours Métrange exhibition also offers a high-angle shot into a realm of artists unlike any other where creations feed off the offbeat and outlandish and dance to the beat of a drum that resounds but in the deep, dark corners of the creators’ minds. Visitors are, thus, invited to step foot into this very peculiar world of the unusual and unexpected.
Yann Minh - Sophie Herniou - Juha Arvid Helminem - Martial Levaillant - Benoît Polvèche - Thomas Dubief - Matthew Clift - Harald I. Schlude - Patrice Pit Hubert - Manu Van.H.
Collection of scientific instruments from the University of Rennes 1
Le festival Court Métrange
a décidé que, dans les lieux
d’exposition du Parcours
Métrange, tous les textes de
présentation des expositions
seront écrits en FALC. Les
textes FALC sont créés par
des travailleurs d’ESAT de
l’Adapei 35, pendant des
ateliers animés par Laurence
Rougé (Ingénierie Durable).
LE « FACILE À LIRE ET À COMPRENDRE » (FALC)
Tout le monde, quelles que soient ses capacités ou ses difficultés, a le droit d’avoir des informations claires. C’est important pour prendre des décisions, pour faire des choix, pour être une personne comme tout le monde. De plus, c’est inscrit dans la loi. Le FALC est un ensemble de règles, qui permettent d’écrire un texte en faisant attention aux difficultés que peuvent avoir certaines personnes pour lire ou pour comprendre. Le FALC rend la vie plus facile à beaucoup d’entre nous. En effet, en écrivant gros, avec des mots simples et des images, un texte est plus facile à lire et à comprendre pour tout le monde. Cela peut être utile aux enfants, aux personnes déficientes intellectuelles, aux touristes, aux personnes apprenant le français ou aux personnes en situation d’illettrisme, et à beaucoup d’autres.
Led by Antoine Mottier
Be they in the form of robots, golems, super computers or artificial intelligence, the literary and cinematic imagination overflows with artificial beings.
With insight from filmmaker Marc Caro, Chair of the Arthurian Center for the Imaginary Claudine Glot and Academic specialist in the Imaginary Daniel Tron, we will attempt to paint a more precise picture of these types of artificiality, as well as glance into the significance and meaning behind this theme practically inseparable from that of the imaginary in our society.
Author of La Zone du Dehors and the famous La Horde du Contrevent, not to mention member of the Zanzibar Sci-Fi writer collective, Alain Damasio has agreed to give a conference wherein he will be delving further into the intricacies of this year’s festival theme: To be or not to be artificial?
This is the opportunity for him to discuss the evolution of artificiality, in the past, present-day and future, be it in the form of a robot, artificial intelligence, literary and cinematic imagination or our society.
In the past year, Virtual Reality and Augmented Reality have undergone tremendous growth. Several actors in the fields of technology and media have made these terms their own, and have interpreted them as they best see fit, except that, at times, this seemingly harmless behavior has caused confusion for the general public: What is the difference between Virtual Reality and 360-Degree Video, and are Mixed Reality and Augmented Reality the same thing?
We will be shedding some needed light on the matter using the real-virtual continuum that came out over 20 years ago in scientific journals. We will combine this perspective with the wealth of resources the various technologies in existence have at their fingertips. We will further our understanding with the help of Virtual Reality and Augmented Reality demos used in cinema today. We will also use these concrete examples to underline both the restrictions and rewards of the techniques currently in place.
Speakers: Laboratory Head at Interactions Immersives, Thomas Boggini, and Jérôme Royan, Lead Architect at b<>com on the topics of Virtual Reality and Augmented Reality.
Synthetically-made human figures have taken over in the sector of audio-visual production. Their degree of realism hardly phases us anymore. That said, our screens, loaded with 3D characters, somehow manage to fool us increasingly more often despite our supposedly expert eyes. Faces, without a doubt, are the quintessential masterpiece, and boast a highly-intricate series of maneuvers. Today, they are modeled and animated using extremely technical, precision software.
In this Master Class, we will take a look at the most common technologies used for the purposes of modeling, rigging, animating and creating photorealistic-type faces with special emphasis on facial motion capture. We will put the various techniques into perspective based on needs, production types and budgets.
Speaker: Dr. Gaspard Breton, CEO - Dynamixyz.
Kevin Cappelli teaches Philosophy. Patrice Pincé teaches Film History. As part of the Court Métrange Festival, they will pick apart a Science Fiction short film, each pulling from the depths of his specialty, and examine the work from the angle of Artificial Intelligence. They will choose between "Anticipation, ou l’Amour en l’an 2000" by Jean-Luc Godard (1967) or "Jiminy" by Arthur Môlard (2013).