See below first
Player: Jean-Paul Fargier
There are videos made without specific beginning or ending. Couldn’t we have a Realty Switch to commute these from one to another, on the dynamic White Box walls?
Archive pour la catégorie ‘interactive installation’
Video Reality Switch (VR Switch)
Jeudi 23 novembre 2006
(1 votes, average: 1, 00 out of 5)
Loading ...Reality Switch
Mardi 21 novembre 2006Obsessed by converting the world into what it should be, we need a unique control which will give us the feeling of nearly-controlled ultimate power.
I propose a series of works around the concept of a unique switch.
Inside the white box, at the middle of the front wall: a switch. It is the only visible element of the exhibition. The visitor is irrepressibly compelled to press it.
Then things happen.
Not necessarily the same, not in the same order, not necessarily.
The switch editing is an old trick for a new kind of life zapping.
Samples :
Switch on
Of course the light can be deemed, and we understand that it was comes from the walls themselves.
Switch again
One of the walls becomes a screen, and we are inside an elevator going upwards.
Switch again
A nice and well-designed kitchen with the “ideal” family enjoying lunch.
Switch again
Darkness around us. The ambient sound that envelope us, gives us the feeling to be on the street, in the middle of a crowd.
Switch again
An ongoing TV program
Switch again
Images all around the white box. Snap shots. Black and White. Blurry smartly-framed pictures of the actual visitors captured when coming in.
Sound : People during a contemporary art exhibition opening. Drinks and gossips.
Switch again
One wall/screen becomes the window of a skyscrapper. The sound gives us the feeling that something big is coming towards us. We then see the nose of a huge plane coming right to us. When it is big enough to darken the whole window, and when the sound reaches the climax, everything becomes normal again. Before the impact.
Switch again
We are in the dark looking for the switch. Sounds like rats moving on the ground.
The list is unlimited
(3 votes, average: 4, 67 out of 5) Loading ...Pourfendeurs de champs
Mercredi 15 novembre 2006(Death of Field)
Optical effect
Since one can easily follow drifts of vision on image, one can imagine the deviant form of stereoscopy, supposed to make vision “solid”, building a perverse space, on the scale of those that confuse in pleasure effects where the relative distance grows with intensity of the look on the thing.
The more you interest me, the more you seem far.
The object of desire, more cense than coveted, without linear degradation – perspective reduction of the size – leaves away for the watcher, frowned upon observer of the scene. Here it is not transav (“Husum” effect, say the exegete movie goerings against their will) of joyful remembering, but the definitive bleary of deviant senses, of the unreachable unappeased.
(4 votes, average: 4, 25 out of 5) Loading ...Chez VW, le battement d’aile de coccinelle ne manque pas d’air
Mercredi 15 novembre 2006Le mapping serait-il la mutation numérique de la métaphore ?
Les tropes s’attrapent par paire, de nos jours binaires ou de paires en pairs chacun trouve un compte plus ou moins bon, relativement satisfaisant, et certains termes que l’on pourrait traduire par transposition, plaquage, nappage, cartographie prennent un sens singulier et néanmoins délicieusement révélateur.
Nombre d’œuvres qu’on tague numériques fondent leur dimension poétique sur l’art du mapping. Il n’est pas question ici de technologie, mais de transposition, au sens rhétorique et musical.
Quand les chaînes causales rejoignent les associations poétiques, le mapping trouve une place attendue et confortable. Les faits se plaquent l’un sur l’autre sans que pour autant l’excitation esthétique opère.
Projet :
C’est ainsi que le spectateur, esclave et maître du spectacle, voit l’image ciller au rythme de ses paupières qui trahissent l’ennui comme l’excitation. Quand les phases béantes de cette intermittence vomissent le flot mal digéré de la télé. Le zapping piloté par le papillon dans sa cage qui de l’aile coupe le flux continu de la télécommande qui dit quand et comment l’image suffit. Le battement devient nombre et les programmes s’enchaînent en plans débridés. Le montage asservi, à rien, sinon à l’alea du libre cours du corps sans sens, à la rythmique physique, pertinente au-delà des signes en suspens. C’est ici la chaleur qui pilote le lépidoptère. Elle nous dit qu’ailleurs, à Sydney, le soleil faiblit. Lui qui se reflète sur les lunettes miroir d’une pin-up qui se gratte d’aise face à l’image en ligne d’un bellâtre qui luit, s’en fout car il pense que l’art est affaire de loto.
Le hasard a ses lois que l’art ne connait pas. Toujours.
(1 votes, average: 4, 00 out of 5) Loading ...Soul Sucker
Dimanche 12 novembre 2006Black Hole evolution
Installation interactive
Dans le projet Black Hole la surface noire aspire physiquement le spectateur. Dans Soul Sucker Une seconde ouverture juxtaposée, de même dimension, nous donne à voir notre image devenue particules de poussières aspirées par l’image absente.
(2 votes, average: 2, 50 out of 5) Loading ...Black Hole
Mercredi 8 novembre 2006Installation, vent
Dans une période où la sensation redevient une valeur acceptée par le monde de l’art, James Turrell, Anish Kapoor, Olafur Eliasson, on peut, dans le même esprit, penser que les artistes du vent (Fan Addicts, cf. plus bas) pourraient travailler l’intensité par le vide. De Klein à Turrell, on a cherché à créer une véritable aspiration de l’âme par forfait de la rétine (on ne parlera jamais assez du retour du rétinien dans la période contemporaine). Assumons la littéralité du propos, et après l’immersif promulguons l’aspiration, supposée pleine de nos espoirs et de nos doutes.
La surface affectée est au travail de Turrell ce que la fenêtre est au tableau de la Renaissance.
Il s’agit d’un trou, donnant sur un espace noir, sans reflet, absorbant la totalité de la lumière. Quand on passe devant on est comme physiquement happé par le vide d’air entretenu à l’intérieur. Le dispositif oblige à se tenir à distance, et là, seul un rectangle noir semble collé à la surface du mur. La minceur de ce dernier pourrait donner l’impression de l’épaisseur d’une toile tendue sur un châssis à la perspective inversée.
Mais là, pour le marchand, c’est dur de vendre du vent, et plus encore quand l’œuvre prend, en lumière et en air, plus qu’elle ne donne
Et pour le Fan Addict, il se pourrait que ce soit la présence visuelle de l’hélice qui manque. Si création il y a.
(3 votes, average: 3, 67 out of 5) Loading ...Thrills
Mercredi 1 novembre 2006(visual and sonorous composition)
Player: TGV (high-speed train), full country stop.
Long the line, wind is caressing with a little hill, covered with grass and herbs. This gentle playing has something sensual and one almost feels the hill vibrating with emotion. Free from sound, violence in the movement is nowhere to be seen.
Pleased…reluctant, the grass is like bristle on the skin, and wide motions remind the shifting of muscles under a horse’s trembling skin.
In his complex relation between a flux and an especially receptive substance, one meets the expressed richness of tinges that rule group relations. These are kept under flows of information or of power; each blade of grass bends under the caress, and seems, when the wind deepens, to curve besides pressure. A sound supposedly would come out, a sound starting resistant and further painful; then the whole hill would transpose this ambiguous meeting in a whispered concert. This sizable movement, which suggests an earth reaction, where the earth is as a muscled body , would be transposed by another sonorous entity, participating to the dialogue of nature abandoning herself.
As on the surface of water, distorted by the heave and waves, it is a contact area between two elements, which constitute, in other instance, the “skin” of architecture, which expresses the quality of inside/outside relations, resistance to the difference of the natures, possible hostility to exteriority, to the contact attempt.
THE dialogue establishes itself when the substance plays the meeting as a double voice score or double body choreography.
(5 votes, average: 3, 60 out of 5) Loading ...DNA Race
Lundi 23 octobre 2006Interactive scientific competition
21st October 2006
Players: V2 lecture Rotterdam
Sometimes the debate is sparked off by the question of a scientist who thinks he is an artist, either through the effort of representation involved in his profession or because he considers that the creativity essential to his job is similar to artistic practice.
Proposing a symbolic action which raises the question of representation, not at the service of a hypothetical political objective, but of a better quality of interpretation.
The competition is such, in scientific circles, that making it tangible would reinforce the double challenge of the image and the performance.
Watching a presentation which includes an illustration of the way in which DNA twists around like a rope constantly being wound up.
DNA race :
One rope per team.
The rope is twisted, by default, to a fixed and pre-determined number of rotations.
To support their team, two scientists each pull on one end of the rope to tighten it as much as possible. The aim is not to pull the other in your direction, but to transform the twists and turns of the rope into a line as straight as possible.
Opposite a virtual reality screen (or in the Cave) is a race-mat (probably a reference to the work of Marnix de Nij Run Mother Fucker Run, that I saw here in Rotterdam). The sportsman in each team runs opposite the image inside the DNA chain, as though along a tubular track that would follow the least twists and turns of the physical rope. At the beginning of the race, the track is very irregular, with continuous ups and downs.
The difficulty of making the mat move along is linked to the virtual slope. The virtual slope is linked to the physical rope, which depends on the effort made by the team of scientists to turn the track into a straight line.
There could be sound, in rhythm to the race, to accompany the alternating DNA segments, possibly adding more difficulty, with each having to keep track of the interruptions and anomalies encountered on the way, as in a treasure chase.
One of the challenges of the competition might be to discover the mapping out, the representation of the genetic code that would be the easiest to deal with so that the researcher/competitor may keep track of anomalies as quickly as possible. Like a well-tuned racing car, the choices of representation made by each team would be proof of its ability to set up an efficient scientific tool.
(2 votes, average: 2, 00 out of 5) Loading ...ART TRAP
Lundi 23 octobre 2006(physical and network come back installation) October 21th, 2006
One reminds me of art trap.
It is a project I conceived when working on Art Impact for Beaubourg in 2000. The turnover operated in the attitude of the institution when a sponsor proposed to co-finance the work, was quite spectacular. We shifted from the ordering of an artwork and exhibition to a location renting (unfortunately under-financed, as usual) – and I thank, by the way, Daniel Soutif who, going over obstacles, made the thing possible. This sudden turn, not in Daniel Soutif’s attitude, but in the centre’s administrator’s attitude, was sufficiently spectacular and scheming so that I propose making out of it a special device.
Art Trap was born, left in the state of concept; I presume it has its place here, in the project’s purgatory.
Art Trap is funded on the idea that the artistic institution’s economy is a permanent compromise with the financiers. Some will say the whole art history is in the same boat. I, therefore propose to take possession of a location of minimum surface of 16m2, in a museum. A museum, I insist, not a gallery; it is the area dedicated in art in its most institutionalised version that interest me here. So I build four walls without ceiling above. In the middle of each wall, an opening without door. Above the opening, a projector turned inside. Online, a proposition to buy the space of visibility. Each volunteer/patron invests the desired amount of money and obtains the proportional visibility according to online engagements. The first one sees his logo, name, tag, brand on the wall facing the projector. As soon as the second one comes in for the same amount of money, each one fills only half of the space, and on and on.
When the number of « patrons » becomes significant, with plaster and trowel, I reduce the openings sizes to increase the « renting » surface. After some time, the four doors will only leave a cat size visitor in. And the so told and requested visibility would be reduced to electronic surveillance that report, online and black and white, the effective presence of the patrons with their logos.
The gained money, after deduction of charges, would be shared between the museum, renting the location, and the artist that will be able to, on a fix bank account, report the way the money is used, survival or pleasure expenses. A screen, outside the box, would transmit in real time, the state of the bank account: expenses, bills.
(1 votes, average: 4, 00 out of 5) Loading ...Watch Out Immersive
Lundi 23 octobre 2006(urban and gallery art)
written : 20 octobre 2006
2 boxes in the street. Painted with yellow and black stripes like a street signal. The boxes are close to each other.
On the first box, 2,50m x 1,50 x 1,50, on each side a hole at the passer by’s eye level.
Inside the the box the Watch Out thing : in front of each….
The other box, 1m tall x 1.5m x 1.5 the hole is on the top
The immersive room (the CAVE finally)
http://www.watch-out.net/
(2 votes, average: 2, 00 out of 5) Loading ...
