As a ‘musical object’, Dunoyer chose a pianola study lasting two minutes by the Mexican composer Conlon Nancarrow. His enormously complex canons have inspired Dunoyer to work analogically: elaboration, complexity, and ecodation on the one hand, manual fabrication, the manipulation of objects and visible mechanisms on the other hand.

The music is a support and a model for the projection of images bringing himself “on stage”. The slides have been taken and touched up by photographer Mirjam Devriendt. They show the body of Dunoyer in various historical and anatomic positions.

Etude #31 is a choreography for a dancing and musical object.