GAETAN LE COAREr
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WHo am i
who am i
My university career began in Nîmes where I was trained in applied arts on a design course centred on the object, graphics and digital. At that time, I was able to develop my interest in comics and in particular its possibilities in digital and interaction. In a second volume, I completed a Master's degree in Digital Hypermedia Creation and Intelligent Space at the University of Savoie Mont Blanc, in which I focused my research on the notion of Black as an experience of the ellipse in interactive comics.
I am currently a PhD student. My thesis, under the supervision of Ghislaine Chabert and Marc Veyrat, is about "Comics and Mixed Reality, towards new spaces of narration".
Projects
project
AN DOMHAN is a Mixed Reality (-! Virtual and Augmented Reality !-) experience, adapted from the Irish legend "The Tragic Death of the Children of Tuireann". This legend tells the story of the rivalry between two heroes and deities of the Tuatha Dé Danann, named Lugh and Brian. Between revenge and redemption, the story revolves around a murder and its consequences. AN DOMHAN, which means Earth in Irish, is presented as a third character of the legend. The earth as an element, a witness to the murder and a place of burial, becomes the origin and finality, the interface of the tension between the two heroes. The land is also the land of Ireland, the environment and epicentre of a strange cartography that is constructed in the course of the experience and that extends far beyond the country. The Land as a "product"(1) of the work. The Land as the "product" of the work as "[...] the pose in the open as that-which-is-closed".(2) As a singular space, the Land as a narrative subject in the work, allows us to explore the darkest corners of Irish legend.
This interdisciplinary project, between Art Sciences and Information and Communication Sciences, is part of two axes and three teams of the LLSETI Laboratory. Axis 3 and Axis 2 "Text, Images and Digital Arts" (Team 1 "Les Fabriques des Histoires" + Team 2: Impossible Realities) This research work is carried out by Gaëtan Le Coarer, a doctoral student of the LLSETI Laboratory (under the direction of Ghislaine Chabert and Marc Veyrat, whose thesis subject is: "This will allow us to question these "Mixed Realities", as much in creative research as in narrative strategies, uses and visual methodologies, through the potentialities and specificities of this VR + AR device linked to the ®-INTERPRETATION of an Irish legend.
project
My project is an interactive comic book, I wanted to place the reader concretely and emotionally in a space that would be similar to the ellipsis both spatial and narrative. In the present, the reader is in a darkened room, with minimal light entering, and in a more virtual way, the reader has a smartphone in which a comic book designed for the occasion was programmed. I retrace my experience of mobility in Malta, with numerous graphically reworked photographs and drawings designed exceptionally for the project. Developed in high-contrast black and white, the phone screen blends perfectly with the environment of the experiment site. Indeed, on the phone's screen the reader can see that the "background" is black, and the pictorial elements are completely white, or at the very least grey.
The latter are propagated by the light of the telephone towards the reader's gaze, whereas the background, not being a material that can be transported by the rays of light, will keep its place, giving the reader the possibility of not being passive, but of interacting with the content of the comic strip, in the hope, or the idea, of being able to reach 'the background'. In the experience] - - [ , the reader will move and according to his movements, the phone's gyroscope will translate the information, so that each movement is recreated in the phone's space. For example, if the reader moves his smartphone from bottom left to top right, this same movement will appear synchronously in the comic. Moreover, it is the reader's point of view in the story that will make the images appear, if the reader is in front of an image (invisible by default) it will appear.
With this subtitle we refer to the astrophysical nomenclature of black hole classification. This is a methodology adopted by the Cambridge Observatory.
In 1959, astronomers from the Radio Astronomy group (now the Cavendish Astrophysics group), while investigating radio light sources, detected the radio source with an interferometer and included the discovery in a radio source catalogue.
This phenomenon, the thing discovered, is renamed 3C.348. This means that the find has been classified in the observatory's third catalogue and that it is the 348th object detected by the survey. It is the discovery of Hercules A, the name given to both the galaxy and the black hole at its centre. We take up this nomenclature by adding our own observation parameters, (4C) referring to the fourth box of (37), from page 37 of the comic strip Origine (referred to with the .0) by Marc Antoine Mathieu
project
DESSINS
These are not drawings made next to the phone, but next to the computer. They are complete and profound drawings. The relationship to space influenced by the blackness of the screen (whether paper or pixelated), the blackness of the material opens up a non-linear reading of situations in the vast space that is itself black, already explored in the project.] - - - [
One experiences the surface of these images to gradually enter the language, the story involved. It is both a game of effort and discovery that is highlighted in these plates.
The drawings "next to" or the drawings underneath, or even the underneath of the drawings, is a series of plates that I made in parallel to each moment of my work. Like Dubuffet who made the preparatory drawings for his Hourloupe series, in a state of abstract attention, because he was in the middle of a telephone conversation. These drawings, like mine, come from an "elsewhere" mind and thus imply in their very structure, a particular relationship to space. These drawings were reworked by Dubuffet, as elements of visual language, by their forms, aesthetics and even their sounds.
