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Vagues scélérates

Un petit rappel, en anglais, de pleins de choses déjà vues, ou en cours, pour le projet Clipperton.
À lire aussi ICI.

On the first page of « Islands, still boats », his introduction to the « Atlas of Remote Islands« , Olivier de Kersauson reminds that heaven and hell are often close on faraway islands, but that islands are hardly innocent in the matter.
As for examples, he quotes 2 islands: Pitcairn, and Clipperton.
That was my first acquaintance to Clipperton, in French called « île de la Passion », an island that strangely looks like a ring. Yes, maybe islands are not innocent.
Reading more on the matter of remote islands, I was not surprise to see that one island could have many names (depending on the nation discovering or claiming it), and that once again, naming something gives it an existence, a history, a context, and indexes it, immediately.
Yes words have that power, weather it is territory in the middle of the sea, or a territory of research. Art words. Science words. That is my project on Clipperton: observing similarities and differences between the terms, language used in art and science. Defining a corpus of vocabulary from both of these fields, examining the gaps and common ideas they share to produce a visual work out of it.

So as a start, it is fair to look at a few words (sometimes pictures) that came to my attention this last 2 months – subjectively or by searching the internet or libraries. Some are self explanatory, some have comments. But I  think are all related to the temporality of the Clipperton project and classified as such:
– The journey
/ waves / being at sea. Anticipation & projection
– The stay / being there working
Being back / Undulations / The output of the project.

 

  • -The journey / waves / Being at sea.

Vagues scélérates (Rogue waves)
« Les vagues scélérates » are large and spontaneous ocean surface waves that occur far out in sea, they seem not to have a single distinct cause and for the longest time where a myth. The French “scélérate” means “perfidious”, which I quite like because it defines the phenomenon in relation to others (here sailors), not just its quality.

Vija Celmins
A few years back, at the Pompidou Centre, I saw Vija Celmins‘ desolated drawings of sea, sky and desert.

  • The stay, being there.

Clipperton as a boat

 

 

This picture was taken during a weeklong workshop at the Brittany School of Art (Lorient), where I teach. The workshop, with artist Laurent Tixador (who is actually on his journey to the Kerguelen islands), was a bivouac and occupation of the school. Coming across it recently, I realise how Clippertonian this exepriment was and how Clippertonian the boat I slept on was..
In the beginning of my participating of the project, I went on GoogleEarth to see what Clipperton Island « really » looks like. What I found was more the visualisation of a still floating vessel (or a little like a cloud) than an island as such.
This floating vessel sent me back to Olivier de Kersauson’s introduction, but also, and more importantly to Michel Foucault best example of heterotopias.

Heterotopia, from a boat to heterotopia.

Being on Clipperton is also the occasion to look at this expedition as an exploration of a sorts of heterotopias. An heterotopias is a concept in human geography: a concrete space that holds imagination, reality and fantasy at the same time.
They are spaces of otherness, which are neither here nor there, that are simultaneously physical and mental. (ex: space of a phone call or the moment when you see yourself in the mirror).
Contrary to utopia which is an idea or an image representing a perfected version of society, Foucault uses the term heterotopias to describe a physical representation or approximation of an utopia, or a parallel space that contains undesirable bodies to make a real utopian space possible.

« First there are the utopias. Utopias are sites with no real place. They are sites that have a general relation of direct or inverted analogy with the real space of Society. They present society itself in a perfected form, or else society turned upside down, but in any case these utopias are fundamentally unreal spaces.

There are also, probably in every culture, in every civilization, real places – places that do exist and that are formed in the very founding of society – which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them, by way of contrast to utopias, heterotopias ».
(For whole text and various category/principle descriptions of heterotopias: foucault.info).


Collect & navigation

These 2 words could summarise both my usual computer-based practice as an artist, the general objectif on this expedition to Clipperton, and the method of my enquieries.
Coral Reef
A lot of the talk around the Clipperton project is about coral reef life. This could be one good case of study on how artists and scientists projects their works. Data and representation are probably two sides of the same coin. Where could they meet?
The Institute for Figuring offered an incredible answer a few years back, with their project “Crochet reef. » The inspiration for making crochet reef forms begins with the technique of « hyperbolic crochet » discovered in 1997 by Cornell University mathematician Dr. Daina Taimina. The Wertheim sisters adopted Dr Taimina’s techniques and elaborated upon them to develop a whole taxonomy of reef-life forms.

 


« Crochet Coral and Anemone Garden » with sea slug by Marianne Midelburg.
Photos © The IFF by Alyssa Gorelick.

Loopy « kelps », fringed « anemones », crenelated « sea slugs », and curlicued « corals » have all been modeled with these methods. The basic process for making these forms is a simple pattern or algorithm, which on its own produces a mathematically pure shape, but by varying or mutating this algorithm, endless variations and permutations of shape and form can be produced. The Crochet Reef project thus becomes an on-going evolutionary experiment in which the worldwide community of Reefers brings into being an ever-evolving crochet « tree of life. »

  • Coming back. The output of the project.

Graphical method
“La méthode graphique”, developed by Etienne-Jules Marey consist in a mechanical transcription (on paper or on a sensitive surface) of pulsations, vibrations, undulations, quakes, and shivering produced by the movement of all living bodies or moving objects. The obtained graphic is the spatial memory, which enables us to see the variation of movement during a certain time. This information can either be continuous or non-continuous.
The graphical method made possible the knowledge of a number of phenomenon in medicine, physiology, natural sciences, and physics. These recording devices have for the first time in history, a graphical representation of movement or phenomenon invisible to the eye.


Etienne-Jules Marey, walking.

To end this post, I would like to quote Georges Didi-Huberman, who, speaking about the mareysienne curve sayd that it “transforms the idea of the phenomenon and its possibility of image” ( transforme à la fois l’idée du phénomène et celle de sa possibilité d’image).

If I had a definition for what is art (I have too many) it would be very close.
A vast program J

 


Facebook as a symbolic fiction.

sondes

Facebook as a symbolic fiction /// Spectators 2.0 as the feeding material of that fiction.

So we all know that fiction is a way to structure reality. It enables me to perceive the reality and is a condition of my accepting it. And we use fiction as a way to interrogate it.
Ex : Like when an event is too traumatic or too violent, (whether it is overly happy or horribly sad), it shatters the coordinate of our reality, so you  have to fictionalized it.
If on the contrary you take away from our reality the symbolic fictions that regulate it, you can’t get hold of reality anymore… you lose ground

Facebook is for me a machine for fiction, or I should rather say, it is a machine that process events into a strange form of fiction. A kind of written (or multimedia, but not as often) fiction that is unstable and that fluctuates all the time. And a fiction without authors.
Variable & interactive narrations is often seen as a way to get to the structure of narration itself (instead of being an occurrence of a story). It reveals the archetypes and also enriches the questioning by multiplying it. But here, we are beyond variable, and as Camille noticed, we are in a totally instable fiction, that rearrange itself all the time.

So I am asking myself : if a fiction rearrange itself all the time, how can it fulfils its regulating role?

Finally, if I have enough distance and observe Facebook, it becomes a tool that allows me to perceive, not the reality behind the illusion but the reality in illusion itself. Facebook is like Wonderland: if you stay an outsider (a spectator) you can see reality “through the looking glass”, that is to say you can read reality that is contained into illusion. If you become an actor, then you are fucked! You become the thing Facebook feeds on.

Résidence Kom.post à la Chartreuse

Du 19 au 23 mars 2010, je suis en résidence invitée par Camille Louis / Kom.post à la Chartreuse – Centre National des écritures du spectacle dans le cadre des sondes.

« Internet, expression contemporaine d’un théâtre global, où tout le monde est susceptible d’être acteur, a comme conséquence la dissolution du quatrième mur du théâtre. Afin de mettre à jour la face cachée des spectacles (les spectateurs), la sonde 03#10 – Spectateur 2.0. propose de mettre en place un dispositif qui permettra de recueillir par la voie électronique (pour cette session, les spectateurs utiliseront Facebook) les regards et analyses de groupes de spectateurs (lycéens, étudiants, …) qui seront présents lors de la sonde 03#10- Chartreuse News Network Session 2. Ces données seront ensuite traitées par Kom.post »

Je participerai donc dans ce cadre à la ré-écriture dramaturgique pour Speech Space #8, une nouvelle lecture et présentation du spectacle « Speech » créé à Berlin en 2009. Pour plus d’infos sur Speech, télécharger le pdf.

speech

From 19 to the 23 march, I am in residency at la Chartreuse – Centre National des écritures du spectacle, taking part in the  sondes projects.

Internet, contemporary expression of a global theater, where everybody may be an actor, has for consequence the dissolution of the fourth wall of the theater. To update the dark side of the shows ( the spectators), the probe 03*10 – Spectator 2.0. Suggest setting up a device which will allow to collect by the electronic way (for this session, the spectators will use Facebook) the glances and the analyses of groups of spectators (high school students, students) who will be present during the Chartreuse news network. The datas will be treated by a collective of artists just after.

WJ-Spot / Vendredi 18 dec. 09 à 18h30, Maison des métallos – Paris

Julie_morel

Dans le cadre de l’entretien que j’ai réalisé pour le hors-série de « Musique Culture Digitale » :
WJ-Spots #1 new publication on « 15 years of artistic creation on the Internet »
WJ-Spots #1 nouvelle publication on « 15 ans de création artistique sur Internet »

> Télécharger l’entretien

Jeudi 17 décembre 2009 / Thursday December 17th 2009, 18h30/20h
Mezzanine de la Maison des Métallos
94, rue Jean-Pierre Timbault
75011 Paris
M° Couronne ou Parmentier

>>> Venez rencontrer les participants à l’événement WJ-SPOTS#1 et découvrir
le Hors série de MCD « 15 ans de création sur Internet »

120 pages, 44 interviews en français et en anglais + 1000 liens internet
http://www.wj-s.org/WJ-SPOTS-1-15-years-of-internet

>>> Come and meet the participants of WJPSOTS#1 and discover the Special edition of MCD on
« 15 years of artistic creation on the Internet »

120 pages, 44 interview in French and in english + 1000 weblinks

http://www.wj-s.org/WJ-SPOTS-1-15-years-of-internet
http://www.digitalmcd.com/

« I Scream » à V.O.S.T. , Imal/Nova cinéma Bruxelles, 23 mai

Je participe à V.O.S.T., avec la projection d’une version linéaire de « I scream » (un projet en collaboration avec Jocelyn Cottencin) // I am leaving Thursday for Brussels to participate to the opening of V.O.S.T., where « I scream » (a collaboration with Jocelyn Cottencin) will be screened on the 23rd.

V.O.S.T. OV/OT
http://vost.nl
BRUSSELS: 21-31 MAY09 > iMAL & NOVA

V.O.S.T. OV/OT explore les relations entre le cinéma, l’art vidéo et l’art numérique et prend pour points d’accroche le sous-titre et le doublage. Ces éléments discrets, intermédiaires et fonctionnels de l’industrie du cinéma apparaissent comme des brèches par lesquelles les artistes détournent et s’approprient les films. Cette programmation bruxelloise donne une place centrale aux questions du langage, de la transcription et de la traduction.

Avec :  Martin Arnold, Armel Barraud, Pierre Bismuth, Frederico Camara, Jordi Colomer, Christoph Draeger, Reynald Drouhin, Yan Duyvendak, Omer Fast, Xavier Gautier, Pierre Huyghe, Kuda.org, Florence Lazar, Danilo Mandic, Julie Morel & Jocelyn Cottencin, ProjectSinge, Nicolas Provost, RYbN, Anri Sala, Keith Sanborn, Antoine Schmitt, Peter Tscherkassky, Virgil Widric.
Commisaires : Alexis Chazard & Marika Dermineur.

*Exposition à iMAL, du jeudi 21 au dimanche 31 mai*
*Projections/Performances au Nova Cinema, samedi 23 mai, 20h-minuit*

/ INFOS PRATIQUES

iMAL (Center for Digital Cultures and Technology)
30 Quai des Charbonnages, 1080 Bruxelles
– Metro Comte de Flandre, Tram 51
du 21 au 31 mai 2009
Vernissage : jeudi 21 mai
contact : +32 (0)2 410 30 93 – http://www.imal.org/

Nova Cinéma
soirée V.O.S.T. OV/OT/
3 rue d’Arenberg, 1000 Bruxelles
– Metro Gare Centrale – Bourse
Samedi 23 mai, 20h-minuit
Entrée payante
contact : +32 (0)2 511 27 74 – http://www.nova-cinema.org/

Code Source

Rendez-vous du 16 mai au 14 juin 2009 / 20ème édition du Festival International de l’Affiche et du Graphisme de Chaumont.
J’y présente, dans le cadre de l’exposition « Code Source« , sur une invitation d’Étienne Mineur, le projet réalisé avec Jocelyn Cottencin « I Scream, You Scream, We all Scream for an Ice Cream… »

I scream, Julie Morel & Jocelyn Cottencin, Chaumont

2009 may, 16th / june, 14th / 20th International Poster and Graphic Arts, Festival of Chaumont
During the exhibition « Code Source« , curated by Étienne Mineur, I will show the project produced with Jocelyn Cottencin « I Scream, You Scream, We all Scream for an Ice Cream… »
See you there!

K3 Manifestation – quelques photos

Quelques photos du K3 que Jocelyn et moi avons prises la semaine dernière.

La manifestation a regroupé des installations, des projections, un concert, des workshops et des performances de Pierre Alferi / Jonathan Barnbrook / Etienne Bernard / Depth Affect / Pierre Di Sciullo / David Guez / Etienne Mineur / Dominique Moulon / Jean-Gabriel Périot / Antoine Schmitt / Trafik.
Je ne sais pas si ces photos peuvent témoigner de l’énergie positive qui a parcouru d’un bout à l’autre cette manifestation. Les artistes et théoriciens qui sont intervenus ont été, à tous niveaux, d’une qualité rare… Good karma people!

Winter Camp, à Amsterdam

Un Winter Camp un peu différent de celui de la résidence incident.net à Briant.. C’est celui auquel je vais participer avec Marika Dermineur (Upgrade! Paris) et Karen Dermineur (Upgrade! Dakar) du 3 au 7 mars à Amsterdam..

> Ici pour les infos

Next week, I’m going to the Institute of network Wintercamp in Amsterdam!
About Winter Camp
Winter Camp is an event, organized by the Institute of Network Cultures and will take place 3-7 March ‘09 in Amsterdam. Network Cultures Winter Camp will be a mix of presentations and work spaces with an emphasis on getting things done. It will be a four-day program of work spaces and plenary presentations, in which a dozen networks (each of which has 5-15 people) can work on their specific current topics.

> Here for more infos