Horizon des événements

At a same point – a hill in Marseille – there are two bodies: Maya (M) and the camera (C). (M) is mobile and moves within a limited space, defined on the one hand by the initial point and on the other, by the edge of the city, the coast or the contour line surrounding this improbable laboratory. In this labyrinth, which stretches from the initial point to the shore, there are numerous obstacles (walls, viaducts, traffic lights, etc.). (M) attempts to reach the edge but her path is undefined, subject to the desires, affections, arbitrary decisions. With each move (M) relays her position to a constellation of satellites (GPS) floating above the labyrinth. And in (M)’s ears, microphones mirror everything she hears, able to repeat the unstable binaural sound balance.
(C) does not move but is not immobile. At constant intervals, (C) is informed via satellite (GPS) of (M)’s position and its aim is to maintain her constantly in the centre of the image. (M) does not speak to (C) but to (GPS) and (C), in its turn, knows nothing of (M) : her movements are responses from stimuli (GPS), like a kick in the air is the response knee cap jerk.
(M) begins walking, (C) follows. After a while we no longer see (M), lost inside the maze. (C) continues to follow her, indifferent to the obstacles that separate them. The two bodies move synchronously, tracing with every move a wavering line (M-C). They are linked by raw code, motor, action and reaction. And we have no empirical evidence of the device’s accuracy. The system is governed by the rules of translation, conversion, decoding, the delirious transformation of one piece of information into another, of one kind to another.
We look at the image: we know that (M) is there, in the line of sight but we don’t see her. We only see the blind memories of (C), recorded in the attempt to find (M), images of the opacity of the labyrinth that envelops her. And blind, we hear what reached the hearing device on her ears, over there, inside.
_ Pedro França