French

The ontological question of the essence of cinema, embodied by Bazin and his "what is cinema" moves today, under the pressure of new forms of consumption of images to a "relocation" of cinema, summarized in this question: "where is the cinema? ". After having investigated the code, the generative, the algorithm, the flow, we could ask ourselves also where is the numerical literature, with an exit of the screen sometimes rendering obsolete this idea of ​​a mainly electronic literature. The desire to write in digital "seems to abandon the tests and essays of digital literature for fear of seeing the possible tracks of new forms of writing to close one by one. Can we ask that this electronic literature resurface in a book in good form like stones in an open digital garden? This is what we asked with our multimedia design students from the DSAA Boulogne (France) whose four creations are detailed below in this proposal. It seems that these students, these digital natives - this strange generation whose lack of history with digital "appearance" allows them to reshape the fields of intervention and limit of digital writing - take up the question where it seems finally the most obvious: in the book, by exploring a digital writing that is written, visualized, sounded and becomes a literature of the sensory object. The four creations of these students are thus exploratory objects working the delimitations of the digital in a logic of the addition. Moved out of the central frame, digital writing is embodied in a diffuse way, sometimes off the screen, in a drift of meaning on the materiality of the digital, in the manner of our everyday, mobile and embodied in the object . Assume that the increased book allows you to climb the first steps of a future location. It is in this idea that we propose to expose these four books made by students of DSAA, today members of the research and creation workshop 3i (Images, Innovation, Interactivity), here is the description more detailed.

1. Insignificant noise Heloise of Almeida Insignifiés du Noise is a trans-media project conceived around the plastic and sound exploration of the noise domain. Grouped into three categories, the sounds used in this augmented edition belong to organic, mechanical and electronic fields. Noises from the first two fields, organic and mechanical, have been invested to produce the visual content of the book in its printed form, which the reader manipulates. The noises of the third field - the electronic field - were invested like material of the increase of the edition. This led to the creation of a book consisting of two booklets and a sound increase on smartphone. Thanks to an image recognition system, the reader is able to scan the pages of both booklets simultaneously, and to transcribe the visual translations into a new sound combination. Thus the sounds produced are really the sound signatures of graphic noises.

2. Rode B-6-9 / Anne Deurgroënd Lucie Plancon Rode B-6-9, Anne Deurgroënd (= Road B-6-9, Underground) is an augmented edition on the theme of everyday music, and more specifically that perceptible in transport. It is a call to travel, an abstract and offbeat poetry, composed of photographs and texts interpreted by three actors. In the unique tempo of the train, there exists a multitude of rhythms, singular and diverse, which can gradually appear absurd. This environment, perfectly realistic at the origin, gives way to the chimeras of each. The written text, like the path, is divided into three parts: B-6-9. They become forms of songs interpreted by three different actors. Each adds his sensitivity and his vision of the course to bring a radically abstract and absurd tone. These sound interpretations are readable thanks to NFC chips that must be scanned with your smartphone. In all its abstractivity, this project mixes new and old technologies in an editorial concept comprising 18 musics, 12 posters, 3 pockets and 3 voices united in the same box.

3. The invasion Marjorie Terral The invasion is an edition offering augmented reality content that mixes texts, photos and graphics. The edition evokes an idea of ​​sounds that are repeated, accumulate in different places, at different times of the day, with a search for visual representation for sound environments. The shots, more evocative than figurative, are there to stimulate the imagination, as are the motifs that unfold throughout the book as an attempt at subjective sound translation. These motifs, present in the printed edition, then come alive in the increase bringing each photograph to life, transforming each page into an animated and sonorous picture. For each heard sound corresponds a pattern that invades the photo, these sounds come to accumulate, repeat themselves, register in a rhythm more and more charged to transcribe this feeling of invasion, saturating, blurring the photo, in revealing the presence of these noises in a new way.

4. The world of Hylae Guillaume Verguin "The world of Hylae takes you into a strange universe, inspired by a distant culture ... It's up to you to capture a talisman in this amazing world where only a wild fauna and flora live and to reveal what this magic stone hides ... " On this narrative thread for youth, The world of Hylae experiments with different digital devices: - an interactive installation - an augmented edition, between paper and digital - VR experience All three question the meaning of touch, exploring a digital materiality. The edition positions a paper notebook cut out on a tablet and proposes new interactions. The reader reads the story printed on the cut out notebook, turns the pages and sees the screen of the tablet through the shapes cut out in the notebook; creating new interactions. Each double page then offers a specific interaction for the viewer. Can we talk here about interactive publishing; indeed who comes here to increase the other, paper or digital? Because the notebook physically hides the digital, while digital offers new possibilities for paper. Moreover the two mediums were thought simultaneously, why talk of increase? Perhaps to better understand this new type of object and visualize the stakes.

Source:https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/1459/O%C3…

In 2018, TOPO is celebrating its 25th anniversary, and its 20th anniversary of involvement in creation and dissemination of digital art. The Montreal artist-run centre TOPO is a laboratory for digital writings and creations for web, performance, and installation spaces. Its mandate is to incubate, produce, and circulate original multimedia artworks that explore interdisciplinary and intercultural hybridizations in the digital arts.It was through exploration of interactive narrative that the founders of TOPO – artists Michel Lefebvre and Eva Quintas – introduced TOPO to new-media circles in January 1998. A memorable ice storm had just ravaged Montréal when the FM network of Radio-Canada broadcasted a web-radio version of the three episodes of the photo-novel Liquidation, a first in Québec. This major pluri-media project, finalized in 2001 in the form of random fiction on CD-ROM, gave a foretaste of the organization’s orientations: collective creation, a multidisciplinary focus, exploration of various supports and narrative forms for new media, and extension of practices on the network into the public space and vice versa. TOPO presents a journey through 20 years of experimentation with the narrative potentials of interactive media through a selection of collective web artworks produced by more than 100 artists from the visual and media arts, theatre, audio, and literature. To this body of work have gradually been added performances and installations highlighting different disciplines, along with various staging processes and technological devices. The goal is to explore the dynamics of the back-and-forth between what is on screen and what is off screen.

(source: ELO 2018 website)

The language becomes a graphic space of exploration starting from the poetic expression of the man.

In dialogue with Jacques Donguy, Philippe Boisnard has conceived the exhibition “Poetry of the Post Humanity” from documents and artistic proposals (Thierry Fournier, Beb-deum and 3 holopoems of Augusto de Campos, Eduardo Kac and Richard Kostelanetz), in order to show that avant-garde poetry does not only propose aesthetic forms linked to technique but another apprehension of man, of his becoming imbued with his technical inventiveness.

Source: http://www.cda95.fr/fr/bains-numeriques-10e-edition/poesie-de-la-post-h…

This video game explores Pavlovian concepts related to the search for meaning or purpose intrinsically linked to the medium of the game, specifically the traditional video game.The Damocles guild explores the player's relationship with a variety of virtual items. The goal, if it is one, is not individual. Participants are encouraged to collect as many swords as possible. In this seemingly hostile world where stereotypes of the video game world coexist, no one can hurt themselves. Although dragons, extraterrestrials and other figures are moving towards the player and threatening no system of life, death or elimination exists. The player is denied any form of finality. The game is not governed by a system of time, so its beginning and end depend entirely on the duration of the exhibition.The version of this work that I propose for the exhibition has several changes. First, I made a graphical and structural optimization of the game, which was previously rather heavy. Secondly, in the context of digital literature, I create a text giving instructions to the viewer. This one is inspired by the video game literature, between a simple and epic text. Third, I punctuate each collection of swords with a word of encouragement on the screen. In the video game, this encouragement literature has the main function of encouraging the player to continue playing. Every moment of success is underlined. In the case of Damocles 2, he takes a subversive function, he encourages the player, but what? The text confuses the viewer towards a non-finality.

"StoryFace" is a digital fiction based on the capture and recognition of facial emotions.

The user logs onto a dating website. He/she is asked to display, in front of the webcam, the emotion that seems to characterize him/her the best. After this the website proposes profiles of partners. The user can choose one and exchange with a fictional partner. The user is now expected to focus on the content of messages. However, the user's facial expressions continue to be tracked and analyzed… 

What is highlighted here is the tendency of emotion recognition devices to normalize emotions. Which emotion does the device expect? We go from the measurement of emotions to the standardization of emotions. 

StoryFace was re-published in The New River in 2018.

CHOEUR is basically an installation whose heart is made of poetry.

In the "window" stand a number of characters. It is the inhabitants of a particular castle, men and women, who challenge the visitor. " Come here. Psst, psst ... Do you want to hear a poem? "

They are poets from Quebec and Belgium. Delayed poetic presences and reduced to the proportions of the castelet.

When, to answer the call, the visitors approach the window, the poets recite at the same time a flow of worms which are not confused. Then, gradually, they give each other the floor. The verses are linked together, quickly at the beginning, then more slowly until only one poet is heard. He says his poem - the others let it say - then gradually fades, leaving room for a sound and visual, a landscape echoing poetry. Then the ground comes alive, the text is visual. When the last word of the poet falls, the others come back and challenge the visitor again.

The castelet presents original texts and their authors, each of whom is associated with an audio artist who has composed a piece specifically. It is thus about duets formed by an author and an audio artist. Each duo is complemented by a video creation designed specifically for the device, as well as a dynamic typographic animation created by the artist Mickaël Lafontaine, who uses a tool-work he has developed: the Audiographe *. The Audiographe uses the poet's voice to modulate the typographic animations he creates.

The Chœur (s) project is a variable configuration installation and a tablet application developed with the support of the artist and developer Louis-Robert Bouchard. Rhizome production.

(Source: http://nt2.uqam.ca/fr/actualites/choeurs-pour-castelet-une-installation…)

It is a philosophy book by the French philosopher Gilles Deluze and the French psychoanalyst Félix Guattari. The authors draw upon and discuss the work of a number of authors, including Sigmund Freud, Carl Jung, and Wilhelm Reich. A Thousand Plateaus is written in a non-linear fashion, and the reader is invited to move among plateaux in any order. It is the second volume of Capitalism and Schizophrenia, and the successor to Anti-Oedipus (1972). Before the full English translation by social theorist Brian Massumi appeared in 1987, the twelfth "plateau" was published separately as Nomadology: The War Machine (New York: Semiotext(e), 1986). Though influential, and considered a major statement of post-structuralism and postmodernism, the book has been criticized on many grounds.

The book was first published in 1980 by Les Editions de Minuit, in French and later translated to english in 1987 and published by University of Minnesota Press.

Inner Telescope is a poem created aboard the International Space Station (ISS) with the assistance of French astronaut Thomas Pesquet, who realized it on Saturday, February 18th, 2017. Inner Telescope was specifically conceived for zero gravity and was not brought from Earth: it was made in space by Pesquet following my instructions. The poem was made from materials already available in the space station. It consists of a form that has neither top nor bottom, neither front nor back. Viewed from a certain angle, it reveals the French word “MOI“ [meaning “me”, or "myself"]; from another point of view one sees a human figure with its umbilical cord cut. This “MOI“ stands for the collective self, evoking humanity, and the umbilical cord cut represents our liberation from gravitational limits. Inner Telescope is an instrument of observation and poetic reflection, which leads us to rethink our relationship with the world and our position in the Universe. Since the 1980s, I have been theorizing and producing poetry that challenges the limits of gravity, especially with my holopoems—written with light. My Space Poetry manifesto was published in 2007. In 2017, I finally realized the dream I have pursued for more than 30 years: the creation, production and experience of a work directly in outer space. The astronaut's mission was entitled "Proxima" and was coordinated by the European Space Agency (ESA). My work was coordinated by the L'Observatoire de l'Espace, the Culture Lab of the French Space Agency.

(Source: artist's description from ELO 2018 Mind The Gap!)