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MODELISATION021Jeanne Morel et Paul Marlier. Modélisation du mouvement dansé en ZeroG copi
Jeanne Morel.PNG
Capture d’écran 2020-09-24 à

There is in the experience of micro-gravity a challenge, a small death and an incredible rebirth.
An indeterminate, overwhelming and hopelessly sensible journey.
There is in the body in micro-gravity an undeniable connection to the essence, to the being, to a dance that I imagine almost intrauterine.

Then there is the ascension, the stars, the body which emancipates itself.
Far from a Jump Into The Void one October morning, the body here takes off, leaving the weight of things and discords on the ground.

Of soul ?
I do not believe.

In June 2016, Paul Marlier and I made the first flight of a long series in micro gravity.

We responded to the most destabilizing call for projects and certainly the most necessary for our two careers. It was a question of going to live the micro gravity, a few hours, and to be inspired by it. It was a question of projecting oneself there, thinking about it and questioning oneself about Space and the imagination that it draws.  

What does it represent for us, children of the 21st century, who over the years have seen utopias come to fruition? Due to the familiarity with which it is sometimes treated, is it still about to amaze us?  

But above all, how can universal appeasement be born out of personal experience?  


The instinctive dance in micro-gravity is based on the deconstruction of a low / high frame of reference, on the acceptance of the loss of “a single” center of gravity, the search for a new beginning of movement and the drawing of a continuous gesture.


In 2G the internal body (blood and organs) seems to be compressed towards the "  ground  ". It remains in the body envelope as a "  place to take  For the movement. This movement requires a hitherto unknown effort. It is painful and is confined to the necessary gesture.  


In zeroG, the body is no longer neither an envelope nor a channel, it becomes movement.

It is the instantaneous translation of a flow that, in a space of gravity, we imagine as intimate.

It is a body-space, almost an astral body.

We feel - we imagine - an explosion of all our terrestrial data in an over-dimensioned space.  


There is in micro-gravity dance a powerful communion between internal space and environment. 

The movement becomes "  binder  ".. 

It becomes the language of this new mechanism. 

It translates as a combination of gesture, grace, technical prowess and connection to the irrational. 


The vectors drawn by the dance can be considered as the matrix of a movement codification in micro-gravity.

Jeanne's movement generated in flight is translated  in a succession of segments which, in addition to symbolizing  the danced language  without gravity, become  partition. 

A score of  dance in  zero gravity  potentially useful for astronauts and researchers but also  to the choreographer, to the dancer,  to musicians and technicians of the performing arts.

This score is a  matrix for a match.


The vectors drawn by the danced body also become a plane, a volume directly printable in 3 dimensions. 

It is no longer the body but the "remains" of the movement  that we print.

From this immaterial which has become perennial, it is a new plan, a new almost fractal space useful for architectural research.


Beyond the vector line and the materialization of the danced movement,  technology makes possible the sublimation of physical phenomena generated by emotion. 

During their last flight, Jeanne Morel and Paul Marlier left with helmets.  brain capture. They  look for what is  the impact of the movement danced in  zero gravity on the human brain and what are the different areas activated by the dancer when in flight.  


Thanks to the support of astronaut Jean-François Clervoy, CNRS, Olivier Oullier and EMOTIV, Jeanne Morel and Paul Marlier are studying brain connections during phases danced in micro gravity. Work started in 2019 will be revealed  in 2023. 

O. a project patented by ART IN SPACE Jeanne Morel and Paul Marlier.



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