Photo: Marie-France Coallier The Duty
The concept of emotional intelligence that materializes through the interaction between the dancers and the public is, for Ismaël Mouaraki, a keystone of the “Phenomena”.
The impacts of technological advances on current human evolution inspire more and more choreographers to understand the future of the body, a working tool of the dancer. If some artists like Isabelle Van Grimde, or Gilles Jobin do not hesitate to enter their dance in the universe of science-fiction using digital devices ever more pushed, others, such as Ismaël Mouaraki, take the bet to renounce the use of technology in the scene and to give oneself fully to the evocative power of the movement in order to approach this theme.
It is by observing the effects of new technologies on our social behaviours and rapid adaptation to the changes induced by our digital tools — especially in the area of instant communications and information — as the montréal choreographer decided to embark on a choreographic research based on the philosophy transhumanist and theses sociological. Fascinated by the ethical issues related to the advanced research in artificial intelligence (AI) and by the predictions relating to the possibilities of the body increase in the near future, the dancer was drawn to a series of specialised works of the key ideas to fuel his creative process. Not wishing to bring a vision of trench — either optimistic or pessimistic — of the evolution of the human being, the creator intends, however, to touch to the paradoxes and bring through his creation of a series of questions.
“One of the schools of thought in transhumanism sees the body as a box of death,” says Ismaël Mouaraki. For some thinkers, the body would be a failure of nature, an entity dégénérescente that is not acceptable and that the human being can surpass by using his intelligence. These thinkers reflect on how to defeat death or at least to win the years by pushing it further and further. “
If the revolution of NBIC (nanotechnologies, biotechnologies, it and cognitive sciences) applied to the field of medicine promises to effectively extend considerably our life expectancy, on the other hand, concern persists about the possible excesses of the eugenics movement induced by the use of these technologies. Because of the important social and economic issues are taken into account in this quest for longevity and development of the human being, whereas currently, the largest of the fortune global, is concentrated in the hands of 26 billionaires. These issues of accessibility and the democratization of technologies to come, has prompted the artist to wear in the scene a futuristic vision that goes beyond the individual way of thinking of transhumanism.
It is quite a challenge to talk about the technology without using it. Trying to reproduce in the body, systematically one falls into the trap of stereotypes. At the beginning, I entêtais not to reproduce, but eventually, I had to go in the stereotype to deconstruct and come to emerge in my physical line.
— Ismaël Mouaraki
Based on the arguments of a biochemist and a former professor at MIT, Joël de Rosnay, Ismaël Mouaraki has imagined with his five dancers how would a community increased : “This brilliant scientist thinks transhumanism beyond the individualism and advance the idea of a society which draws its forces from constituency groups. In these collectives increased, individuals would be interconnected and would continually knowledge and data in order to become the best in their human values. “
Thanks to the imitation of the codes of nature by the human being and the progress of the IA, the individual grew to become a being that is symbiotic with its environment, able to bind directementson brain to the machines. “I realized by reading De Rosnay that we will soon have technologies that are visible on us. It will be very minimal. He spoke for example of the cell current as a prosthesis, an extension of ourselves, and all of that seraitintégré inside our body. It has been the key to my entry in lamatière, and that is why I have chosen to evacuate the gadgets on stage. “
Leaving aside the digital tools, Ismaël Mouaraki has instead applied to create a form of lexicon choreography by imagining how you would move to a hybrid humanoid. An approach to movement that corresponds perfectly to his physical signature, very organic, inward-looking, based on the experience and enriched by the visual aspect of urban dance : “It is quite a challenge to talk about the technology without using it. Trying to reproduce in the body, systematically one falls into the trap of stereotypes. At the beginning, I entêtais not to reproduce, but eventually I had to go in the stereotype to deconstruct and come to emerge in my physical line. So I figured out how these humanoids would receive the data of human beings to be able to grow and mature. “
In this context, the fictive, the dancers ‘ bodies act as antennas capturing of data by touch. Wishing to detach a certain coldness that he observes in the representations of futuristic of the human being, the use of touch is for him a way to humanize his vision of the body of the future : “If one wants to speak of technology today, we can no longer do so without an interaction with the public. So I opted for a scenic design bifrontale which allowed me to break the fourth wall and establish a direct contact with the public. I wanted the spectator to feel that he receives something of these hybrids, and in return, he makes them grow. This contact transforms the dancers, who are as beings-in-becoming in the room. It does not come back to watch cool robots, but to see what the audience is left in the body of the performers. Thus there is more in the sound, but really be. “
The concept of emotional intelligence that materializes through the interaction between the dancers and the public is, for Ismaël Mouaraki, a keystone of the Phenomenon. A territory emotional that it still remains to unravel and demystify in the field of AI research.
A creation of Ismaël Mouaraki. With Audrey Bergeron, Geneviève Boulet, Felix Cossette Levasseur, José Flores and Geneviève Gagné. At the Agora de la danse from 13 to 16 march.