Désir Insuffisant est une œuvre inédite et non consultable. Créée à une date indéterminée, elle possède néanmoins un auteur en la personne de Philippe Bootz. Il s’agit même de sa première œuvre Web. Bien que non consultable, l’œuvre est d’un accès facile. Je me propose ici de vous donner les quelques réflexions qu’elle m’a suscitées.
The Nowhere Dance is a performance that to place in Alan Sondheim's Second Life exhibition The Accidental Artist (http://elmcip.net/node/3375). It was performed by Alan Sondheim and Sandy Baldwin February 11th 2009.
In our world of perpetual connectivity, touching interfaces that keep us out of reach, we form attachments whilst remaining detached, by turns kindling and dampening emotions. Conceived as the first in a series of musings on the paradoxical and sometimes poignant nature of human relationships amid networked life, Out of Touch was created in Flash and incorporates text sequences, randomness, intensively filtered video, sound and cut-up voices.
This Out of Touch episode was commissioned by the San Francisco Museum of Modern Art for the Third Hand Plays series curated by Brian Stefans, who wrote:
Her use of video, particularly the manipulations that reduce reality to iconic or cartoon-like (which I read as linguistic) simplicity, accentuates some of the horror at the base of this piece, which has a quasi-Expressionist element — I can’t help but see echoes of “The Scream” in here, or perhaps, with a very different valence in relation to time and experience (it doesn’t happen in Wilks’s piece), the blurred faces in the work of Christian Boltanski.
After creating the original Out of Touch piece for SFMOMA, Christine began to develop the ideas further as an ongoing project of playable and performing media. The focus of the extended project has been for live digital performance. Version 1.0 of her OOT performance interface includes two additional interactive pieces, Out of Hand and Out of Sight, which she performs live as playable media.
Requires a browser with the Flash Player plug-in installed.
Along the briny beach a garden grows. With silver bells and cockleshells, cockles and mussels, alive, alive oh. A coral orchard puts forth raucous pink blossoms. A bouquet of sea anemones tosses in the shallows. A crop of cliffs hedges a sand-sown lawn mown twice daily by long green-thumbed waves rowing in rolling rows. The shifting terrain where land and water meet is always neither land nor water and is always both. The sea garden’s paths are fraught with comings and goings. Sea birds in ones and twos. Scissor-beak, Kingfisher, Parrot and Scissor-tail. Changes in the Zoology. Causes of Extinction. From the ship the sea garden seems to glisten and drip with steam. Along a blue sea whose glitter is blurred by a creeping mist, the Walrus and the Carpenter are walking close at hand. A pleasant walk, a pleasant talk along the briny storied waiting in-between space. Wind blooms in the marram dunes. The tide far out, the ocean shrunken. On the bluff a shingled beach house sprouts, the colour of artichoke. On the horizon lines of tankers hang, like Chinese lanterns. Ocean currents collect crazy lawn ornaments. Shoes and shipwrecks, cabbages and kings. Water bottle caps and thick white snarls of string. At dawn an ancient tractor crawls along the briny beach, harvesting the tide’s leaves. The world’s plastic, the sea’s weeds.
Sandstone cliff marks the channel. Gulfs conceal. Volcanic island maps the surf. lap along the briny fabled wave-washed — Shifting sand pilots the currents. Volcanic island measures the passage. progress along the storied salt-glittering unnamed ledgible line — Coast underlines the waves. Headlands soak. Shifting sand describes the harbours. tramp along the wave-washed wind-loud place —
Programmatic or computational art is often, although not necessarily, related to art in other media: visual, performative, conceptual, and so on. The art systems of The Readers Project relate to writing and to reading, to our encounters with literary language. This project is an essay in language-driven digital art, in writing digital media. The Readers Project visualizes reading, although it does not do this in the sense of miming conventional human reading. Rather, the project explores and visualizes existing and alternative vectors of reading, vectors that are motivated by the properties and methods of language and language art.
Visualization, especially as a function of computation, is now quite commonplace in artistic practice, but it has little culture moment unless it provides critique, and it is not art unless it conveys an aesthetic. The Readers Project is a visualization of reading but it is implicitly critical of conventional reading habits. Further, because the project’s readers move within and are thus composed by the words within which they move, they also, effectively, write. They generate texts and the traces of their writings are offered to the project’s human readers as such, as writing, as literary art; published as real-time streams of live-writing, available to anyone with internet access.
Computationally-engaged text generation has a significant, if marginal, history in literary art practice. The Readers Project is innovative, however, in having found a number of ways to display the primary source of a text generator’s inputs within this source’s typographically structured literary environment. A less obvious but equally important aspect of the project is its use of current natural language information—especially concerning the relative frequencies of words and phrases considered by the readers—culled from the largest corpus of human language that has ever existed, a universe of language no longer deep within or distant from us, but now made visible to all by the free demons of web indexing and, more recently, by active cells of the Natural Language Liberation Front (http://nllf.net/).
(Source: Artists' Statement from the project site)
This piece is an exploration of oral histories and the use of technology as a participatory and inviting medium to perform and share stories.
It is an interactive piece, which consists of a series of extracts from interviews of refugees living in London and the connection between them. They are compiled in a database and linked by common key words. To represent the fractured realities and the formations of connected memories, the viewers need to interact with the piece by clicking on the coloured activated 'common keywords' in order to generate extracts of narrations from the different participating refugees. As an installation the piece includes a microphone to invite the viewers to read aloud and share with other viewers the experience of performing the work through their reading.
As the reader explores and experiences the work by connecting the extracts from the narratives appearing in the screen, the fortuitous position of extracts produces new relationships, and in doing so, an on going process of meanings, connections and narratives; shifting from the semantic linguistic meaning to the visual, from the literal, the legible, the transparent to the abstract memory; and simultaneously creating a poetic space of readable and visual textualities.
As with the oral storytelling tradition, in this work, the share of experiences happens at that moment in time. There is no recording facility; the text is in constant flux of becoming.
Some of the common key words used as links: war- escape- prison -money –government-refugee-passport –kill- documents- mother–father- family –airport-fear- help- country-asylum.
This submission is produced in Processing. The applet application function in Macs and Windows operating systems with no need of Processing being downloaded or any plug-ins. (both applet applications are included- I have coloured them in blue to make it easier for you to see what you need to open- you see [blue-colour] on Macs and the original file in [yellow])
Technical collaborator José Carlos Silvestre.
The Precession is a data-driven networked poem being developed simultaneously as both a large-scale installation and live performance. The work makes use of original writing and real-time data collection to create visual-poetic arrangements based on inquiries into architecture and the night sky. The piece mixes databased sources, real-time interruptions, and algorithmic composition in an evolving ecology.
The Precession considers as a primary source Oskar J.W. Hansen's sculpture Winged Figures of the Republic permanently installed at the Hoover Dam. Hansen's 1935 work commemorates the building of the dam and includes a complex celestial map. Beginning with the date of the dam's dedication, the map contains the data for someone skilled in astronomy to accurately trace the position of the polestar each subsequent night for the next 26,000 years.
The online work, in its current state of development, is mainly time-based taking approximately 20 minutes (with links to individual areas also accessible).
The Precession is a collaboration of Judd Morrissey & Mark Jeffery and is partially funded by a grant from the Illinois Arts Council, a state agency. The Precession is being developed in part for Hyde Park Art Center's ten-screen digital facade where it will be featured for eight weeks beginning in January 2011.
(Source: Artists' description from Mark Jeffery's website)