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When they were working on Maps in 2017 the two choreographers faced a strange and amusing discord, a problem of steps and times. Half of the dancers were counting the rhythm like classical musicians (they counted « one » on the beat ), while the other half was counting on the up-beat like jazz musicians. That difference, which the performers could not overstep because it affected all the aspects of their capacity to conceive and then realize their movements, is the starting point of Noisy Channels.
That incongruous situation brings them to approach the matter of paradox through a textual angle, by the mean of the recorded voice of the dancers. Whether it is about logic or probability, about economy or game theory, physics or philosophy, there are a lot of them but the logic of paradox is to go against common sense, to expose the complexity of reality, to make us realize the limits of what we are able to conceive, to pave the way to the possibility of a new exploration.
With this new choreographic device, Liz Santoro and Pierre Godard tend to probe the depth of paradox and to deepen their researches about the link between text and movement by leaning on the musicality of the voice.

The idea that language would be physically organized in the biological space of the brain encourages us to push deeper in our work with points of contact between movement and text, but also with sound and architectural spaces, through this shared property: deployment. If it is possible to write the movement of the body in space on stage, we could by analogy, mentally project the text on one of these maps showing the unfolded surface of the cortex and vice versa, then use this correspondence as composition material which can then be activated in real-time during the performance.

For Claude Shannon uses grammatical dependencies between words in a statement from computer science pioneer Claude Shannon to recover a linguistic structure that, in turn, generates inexhaustible possibilities for choreographic sequences. Twenty-four discreet movement “atoms” for arms and legs serve as a movement lexicon from which a fixed number of inputs is randomly chosen each time the piece is performed. For each performance, dancers must assemble and learn one particular choreographic outcome among 29 billions possible that cannot be repeated. They rely on the perfect assimilation of the structure of the text and the intimacy they have acquired with one another. Engaging the resources of both their working and long-term memory, uncovering to the audience the pronouncement of the unknown, concealing the predicaments of entropy, they relentlessly switch circuits.

Quarte Works on the tension that exists between the intrinsic attributes of an object, in this case a landscape, and the symbolic arrangement built around it. We conventionally install bodies in this device to reveal the sediments of natural and artificial.

Relative Collider is a machine that others us the opportunity to see, to measure, to quantify, to exchange, to experience information between nervous systems. Like the rings of particle accelerators, its structure holds value only insofar as it allows for the creation of an experience and production of specific results.
Relative Collider works on the physics of attention; a collision of watching.
Relative Collider seeks a point of contact between movement and text, where they each have the sole purpose of their own performance in front of an audience. Atoms subjected to di erent force elds, recombined into molecules that precipitate or dissolve under the attention of the viewer. Organic chemistry.

Watch It is a machine to alter our perceptual hierarchies. Here, the spectacular emerges randomly on the plot of a noisy public space while motifs – very written but maintained at the threshold of their silence – unfold unnoticed. Intimate outdoor performance, fortuitous mathematics, Watch It offers its system of filters and mirrors to destabilize the tropisms of our attention. Choreography for the retina and vestibule. Conservation of energy. Increased disorder.