Ludovic Poulet

Ludovic Poulet was born in the seventies and he is living in Paris. He is also a musician (since the mid nineties) under the “portradium” alias . He works as a sound + video technician and as an art handler in several museums galleries and auction houses. His practice is now centered around cinema: soundtracking, re-editing and…… “photographing”!

all images = c in a circle= © ludovic poulet

The pictures featured in this issue of “super-sensor” belong to a series of hundreds of photographs I am taking since 2014. I’m thankful for digital technologies: they allowed me to have access to aspects of the history of photography and moving pictures I may have never encountered otherwise. Also, I was able to use affordable yet very precise devices to handle, speed up and rewind streams of moving pictures. Nevertheless, the images shown in these pages are photographs in their essence: they are not computer generated.

What you see here has faced the camera.

I observed a protocol, like a studio photographer; I waited, like a landscape or portrait photographer; I felt the rush to shoot, like a street photographer… then it would all happened: the shutter release, and as it opened, everything dashing into the lens in a chaotic fow…

That’s how cinema – digitalized, fragmented, evaporated – comes back like a looming ghost, with its original power recovered. The moment when these images are caught is exactly the same moment as when a dream suddenly assails someone tired, or catches someone’s attention off guard.

The result is a sort of spontaneous portrait of the flm’s subconscious… or is it the subconscious of the audience?

These photographs come from an assertion that may be unsettling to some: a flm is like a person, a living being. It has a body, a conscience, a subconscious and a superego.

What do you record in your memory when you watch a flm? How does your brain store and replay these images, which aren’t simple images, but the staging of a complex set of sensations of movements, sounds and time passing?! So, my attempt is to catch this something that completely escapes consciousness but imprints itself onto memory to come back in the guise of a dream: in a raw, condensed or truncated form.

Going further, I’d say that, since a flm is a series of images embodying a “living-being”, whose existence inevitably runs its course like a river from its source to the ocean, then if you want to extract its “substance rêve”, you’ll need to deconstruct its duration, handle it with violence, cut it, grind it… a bit like a writer upsets the pattern of words to reveal their hidden code in the cut-up technique.

Cinema often fails to represent dreams because it requires the diffcult – and expensive!- staging of swift occurrences. Everyone has to be able to understand them, when nothing is more personal than a dream! Its decrypting and analyzing codes exist exclusively in and for the dreamer.

Dreams suffer from over interpretation much too often. So I wanted to make films dream.

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