Actual Positions of French Netart – Re-launch 2020
, interactive, 2000
Between March 2001 and March 2001, R. Drouhin carried out a cooperative work called Rhizomes which consisted in hosting 192 geographically distant servers 192 fragments of images which were recomposed on the Rhizomes server to form a single image.
The latter was itself a matrix since it was a mosaic of images of trees that represented a hand. R. Drouhin thus shows that the deterritorialization of the network does not go without a territorialization. The visualization of the image of Rhizomes is concentrated but its constitution process is decentralized, dispersed, disseminated.
With Nervures, I wanted to reverse this image path to show that the consultation of Rhizomes was itself territorialized: here the images are no longer visible, we only focus on the physical paths of information between the servers that host the images and a client post, mine. I used tracking software to accurately visualize the path information takes to get to my home.
It is no longer a site that retrieves distant images, it is the consultation of the Internet user that is dispersed in the network flow. The Internet user is himself territorialized, localized thanks to his I.P. (identification of position).
Free forms floating on the waves
, interactive 2002
The “Free forms floating on the waves” were selected by the ELO (The Electronic Literature Organization http://www.eliterature.org) for their demonstration “The State of the Arts Symposium April 4-6, 2002 UCLA, Los Angeles , California “. Selected by the Institut de France in Bucharest for their multimedia event in April 2002
is a global compost on the internet. You can send a text to this compost, it will be sent back to you every week for three months more and more decomposed, composted.
Since 1999, the work titled “Mazecorps” is reflecting a maze-like construction which refers to the possible relationships between cinema, poestry, and networking. That maze has four starting points, encoded by terms representing witnesses of arbitrary arrests. : “now – an arrest – in the morning – a memory” (“by now – an arrest – in the morning – a memory”). The arbitrary arrest of the photographic act is noticed for photographs are the key elements of mazecorps’ story. Also the arbitrary arrest of the writer is clearly intimated since the verses of the poet are featured as sub-titles of a silent film. Above all, handled by the armed forces, the real discretionary arrest of any human who infringes a law is omnipresent. “Mazecorp” actually pays a tribute to Sémira Adamu who was executed by the belgian armed forces on tuesday, September 22, 1998. In the current release of “Mazecorps” (volume I), 12 films no bigger then 400kb each are presented. As for other works featured on confetti.org, we incite the visitor-actor to participate to the creation process of “Mazecorps”. The visitor wishing to be an actor may send either a text or a photography, which would then be integrated to the current work (cf. photographs sub-titled “dire”, which present several producers within a single image. Size: 225 px – 150 px, format: .jpg). Texts and photographs must be sent to mailto: firstname.lastname@example.org. “Mazecorps” will eventually be presented in situ as an installation, as soon as we’ll find an area able to receive such an installation, where the perception of the audience depends on where it situates within the space. “Mazecorps” is also regularly released on CDRom which are available on request. \
LES RICHES DOUANIERS” is an association based in Dijon which has been working digitally since 2000, mixing images and sound.
The Riches Douaniers perform concerts, edit digital images and present their work in usual exhibition venues such as the Center d? Art et de Plaisanterie de Montbéliard, Cabaret Electronique at the Atheneum in Dijon, Forum des Images and
Galerie Satellite in Paris, Fnac stores, etc. But considering that “the twentieth century has freed the content of art, the twenty-first will have to free its display”, they mainly use the net as a new exhibition space. They have therefore created a “Center
de virtualité ”(www.palaisdetokyo-2.com) where they notably develop virtual interventions in real architectures and where they present live web concerts. You can consult their music and videos there.
Since the end of 2003, they have been running a virtual musical exhibition on their site www.karapika.com. It comes in the form of a searchable story, using MIDI, of the hero they created and named Karapika. The Palais de Tokyo Paris welcomes this story on its official forum.
2001, Odyssée de la folie
Carte de Voeux, 2002
Originally a text written during a stay in the hospital in 2001. The visitor is constrained to follow the implemented exercises. The exercises are based on the exercises in workpace, a breaks and exercise software tool proven to assist the recovery and prevention of Repetitive Strain Injury (RSI).
All computer workers tend to forget their body, and so risk to be a victim of Repetitive Strain Injury (RSI) one day. The visitors of ‘separation’ are constraint to click slowly ( as someone recovering from rsi) to see appearing one word at a time of the text. Every now and than a exercise is proposed and all interaction with the computer is postponed. (A recovering rsi patient needs to do this kind of exercises.)
The text seems to be about a separation between human beings, only the last two phrases reveal that it’s about a separation between a human being and a computer.
smile on your neighbour in the morning
Tell a Mouse
the names are linked with the biographies