[Text available only in English] ARIMA is an immersive audiovisual performance in fulldome format, where spatialized visuals generated in real-time offer a visual exploration of time series statistical models and the resulting forecast errors. This highlights, on a larger scale, the cyclical relationship between obsolete economic models and the emergence of new paradigms.
Using realtime software, the work generates graphics and clusters of data points that evolve, reconfigure, and reorganize.These visualizations aim to recreate the algorithmic modeling process of "ARIMA" (AutoRegressive Integrated Moving Average), a statistical model commonly used to predict economic trends. Each "cluster" of points represents a specific economic model, with visual transformations throughout the performance reflecting the evolution and instability of economic systems.
By artistically recreating the ARIMA modeling, the project questions and repurposes the utility of this statistical regression, traditionally used for predictive and analytical purposes. On one hand, it gives new meaning to the artist's economic training, emancipating it from its utilitarian goals to become a tool for artistic creation. On the other hand, it questions the very usefulness of economic models: can they truly account for the complexity of the world, or are they merely reductive simplifications, unable to capture the dynamics of systems? It is precisely this limitation that justifies their transformation into an artistic work. By detaching from predictive and analytical objectives, ARIMA offers a radical questioning of these tools, providing a space where the instability and unpredictability of economic phenomena are not just represented but experienced and felt through an immersive and sensory experience.
The visuals produced by the project are luminous, iridescent, and glossy data points and graphics, reminiscent of decorative rococo objects. Each point, far from being a mere data point, transforms into a digital jewel. Economic models are thus represented not as cold curves on a graph but as delicate and changing objects, almost fragile.
The originality of the project also lies in how the performance is made interactive and participatory. The work is not just a simple projection of data on a dome; it invites the artist to play an active role and modulate the visualizations in real-time. Instead of directing the entire performance from a computer, the artist uses a Wii remote and a MIDI controller to directly manipulate the visuals. This interactive setup frees the creative process from the usual constraints of the screen and mouse, allowing for a more intuitive and organic interaction with the work. Depending on the artist's gestures and actions, the data points change color, shape, and movement, creating constantly evolving visual compositions that dialogue with the music and sound ambiance.
This bodily and intuitive approach echoes the idea that the economy, often perceived as a cold and analytical science, is above all a living and moving system, influenced by human and social factors. By using physical controls rather than traditional computer commands, ARIMA emphasizes the human aspect of the economic process, which is too often reduced to numbers and abstract models. This tactile and interactive dimension reinforces the idea that economic systems are fluid, malleable, and subject to unpredictable external influences, just like the manipulation of real-time visuals.
Music by Mateo Murphy.
