INCERTITUDE

Whatever decisions are to be made, there are only two possible attitudes. One is to be confident, the other is to be uncertain. It is precisely this incertitude that Matthew Biederman and Alain Thibault's eponymous performance is about, merging analog material and digital control. This is how paintings with radical forms are modulated, literally contaminated by the synthetic sonorities of a resolutely repetitive music in the manner of a Philip Glass on steroids which, regularly, is tinged with granularities of different natures. Incertitude thus oscillates between two states going from musical to sonorous and from formal to particulate. It is interesting to note that such machines can only be used in conjunction with more "conventional" computers, both in input and output. This allows us to approach a certain form of complexity that the last part of the performance Incertitude illustrates perfectly via its algorithmic granularity evoking this experimental tendency of the cinema which never denies itself any of the fields of the possible.