{"id":3627,"date":"2011-12-31T19:22:05","date_gmt":"2011-12-31T18:22:05","guid":{"rendered":"http:\/\/incident.net\/users\/julie\/wordpress\/?p=3627"},"modified":"2012-06-25T13:05:17","modified_gmt":"2012-06-25T12:05:17","slug":"vagues-scelerates","status":"publish","type":"post","link":"http:\/\/incident.net\/users\/julie\/wordpress\/?p=3627","title":{"rendered":"Vagues sc\u00c3\u00a9l\u00c3\u00a9rates"},"content":{"rendered":"<p>Un petit rappel, en anglais, de pleins de choses d\u00c3\u00a9j\u00c3\u00a0 vues, ou en cours, pour le projet Clipperton.<br \/>\n\u00c3\u20ac lire aussi <a href=\"http:\/\/theclippertonproject.tumblr.com\/\" target=\"_blank\">ICI<\/a>.<\/p>\n<p>On the first page of \u00ab\u00a0Islands, still boats\u00a0\u00bb, his introduction to the \u00ab\u00a0<a href=\"http:\/\/www.penguin.co.uk\/nf\/Book\/BookDisplay\/0,,9781846143489,00.html\">Atlas of Remote Islands<\/a>\u00ab\u00a0, Olivier de Kersauson reminds that heaven and hell are often close on faraway islands, but that islands are hardly innocent in the matter.<br \/>\nAs for examples, he quotes 2 islands: Pitcairn, and Clipperton.<br \/>\nThat was my first acquaintance to Clipperton, in French called \u00ab\u00a0\u00c3\u00aele de la Passion\u00a0\u00bb, an island that strangely looks like a ring. Yes, maybe islands are not innocent.<br \/>\nReading 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.<br \/>\nYes 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.<\/p>\n<p>So as a start, it is fair to look at a few words (sometimes pictures) that came to my attention this last 2 months &#8211; subjectively or by searching the internet or libraries. Some are self explanatory, some have comments. But I \u00c2\u00a0think are all related to the temporality of the Clipperton project and classified as such:<strong><br \/>\n<strong>&#8211; The journey <\/strong><\/strong>\/ waves \/ being at sea. Anticipation &amp; projection<br \/>\n<strong>&#8211; The stay \/ <\/strong>being there working<br \/>\n&#8211; <strong>Being back \/<\/strong> Undulations \/ The output of the project.<\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li><strong>-The journey<\/strong> \/ waves \/ Being at sea.<\/li>\n<\/ul>\n<p><strong>Vagues sc\u00c3\u00a9l\u00c3\u00a9rates<\/strong> (Rogue waves)<br \/>\n\u00ab\u00a0Les vagues sc\u00c3\u00a9l\u00c3\u00a9rates\u00a0\u00bb 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 \u00e2\u20ac\u0153sc\u00c3\u00a9l\u00c3\u00a9rate\u00e2\u20ac\u009d means \u00e2\u20ac\u0153perfidious\u00e2\u20ac\u009d, which I quite like because it defines the phenomenon in relation to others (here sailors), not just its quality.<\/p>\n<p><strong>Vija Celmins<\/strong><strong><br \/>\n<\/strong>A few years back, at the Pompidou Centre, I saw <a href=\"http:\/\/c4gallery.com\/artist\/database\/vija-celmins\/vija-celmins.html\">Vija Celmins<\/a>&lsquo; desolated drawings of sea, sky and desert.<strong><br \/>\n<\/strong><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" title=\"Vija Celmins\" src=\"http:\/\/incident.net\/users\/julie\/wordpress\/wp-content\/uploads\/2011\/11\/85.406_01_b02.jpg\" alt=\"\" width=\"592\" height=\"475\" \/><\/p>\n<ul>\n<li><strong>The stay, <\/strong>being there.<strong> <\/strong><strong> <\/strong><\/li>\n<\/ul>\n<p><strong>Clipperton as a boat<\/strong><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" width=\"600\" height=\"450\" class=\"alignnone size-full wp-image-3628\" title=\"Clippertonasaboat\" src=\"http:\/\/incident.net\/users\/julie\/wordpress\/wp-content\/uploads\/2012\/01\/Clippertonasaboat.jpg\" alt=\"\" srcset=\"http:\/\/incident.net\/users\/julie\/wordpress\/wp-content\/uploads\/2012\/01\/Clippertonasaboat.jpg 600w, http:\/\/incident.net\/users\/julie\/wordpress\/wp-content\/uploads\/2012\/01\/Clippertonasaboat-480x360.jpg 480w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>This picture was taken during a weeklong workshop at the Brittany School of Art (Lorient), where I teach. The workshop, with artist <a href=\"http:\/\/www.laurenttixador.com\/\">Laurent Tixador<\/a> (who is actually on his journey to the <a href=\"http:\/\/www.panoramio.com\/photo\/8861068\">Kerguelen islands<\/a>), 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..<br \/>\nIn the beginning of my participating of the project, I went on GoogleEarth to see what Clipperton Island \u00ab\u00a0really\u00a0\u00bb 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.<br \/>\nThis floating vessel sent me back to Olivier de Kersauson&rsquo;s introduction, but also, and more importantly to Michel Foucault best example of heterotopias.<\/p>\n<p><strong>Heterotopia, <\/strong>from a boat to heterotopia.<\/p>\n<p>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.<br \/>\nThey 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).<br \/>\nContrary 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.<\/p>\n<p>\u00ab\u00a0First 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.<\/p>\n<p>There are also, probably in every culture, in every civilization, real places &#8211; places that do exist and that are formed in the very founding of society &#8211; 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\u00a0\u00bb.<br \/>\n(For whole text and various category\/principle descriptions of heterotopias: <a href=\"http:\/\/foucault.info\/documents\/heteroTopia\/foucault.heteroTopia.en.html\">foucault.info<\/a>).<\/p>\n<p><strong><br \/>\n<strong>Collect &amp; navigation<\/strong><\/strong><br \/>\nThese 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.<br \/>\n<strong>Coral Reef<\/strong><strong><br \/>\n<\/strong>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?<br \/>\nThe Institute for Figuring offered an incredible answer a few years back, with their project \u00e2\u20ac\u0153Crochet reef.\u00a0\u00bb The inspiration for making crochet reef forms begins with the technique of \u00ab\u00a0hyperbolic crochet\u00a0\u00bb discovered in 1997 by Cornell University mathematician Dr. Daina Taimina. The Wertheim sisters adopted Dr Taimina&rsquo;s techniques and elaborated upon them to develop a whole taxonomy of reef-life forms.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><img decoding=\"async\" loading=\"lazy\" class=\"alignnone\" title=\"Coral reef\" src=\"http:\/\/crochetcoralreef.org\/Content\/about\/reef1.jpg\" alt=\"\" width=\"460\" height=\"307\" \/><br \/>\n<\/strong><span style=\"color: #999999;\">\u00ab\u00a0Crochet Coral and Anemone Garden\u00a0\u00bb with sea slug by Marianne Midelburg.<\/span><br \/>\n<span style=\"color: #999999;\"> Photos \u00c2\u00a9 <a href=\"http:\/\/crochetcoralreef.org\/about\/index.php\" target=\"_blank\">The IFF<\/a> by Alyssa Gorelick.<\/span><\/p>\n<p>Loopy \u00ab\u00a0kelps\u00a0\u00bb, fringed \u00ab\u00a0anemones\u00a0\u00bb, crenelated \u00ab\u00a0sea slugs\u00a0\u00bb, and curlicued \u00ab\u00a0corals\u00a0\u00bb 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 \u00ab\u00a0tree of life.\u00a0\u00bb<\/p>\n<ul>\n<li><strong>Coming back. <\/strong>The output of the project.<\/li>\n<\/ul>\n<p><strong>Graphical method<\/strong><br \/>\n\u00e2\u20ac\u0153La m\u00c3\u00a9thode graphique\u00e2\u20ac\u009d, developed by <a href=\"http:\/\/en.wikipedia.org\/wiki\/%C3%89tienne-Jules_Marey\">Etienne-Jules Marey<\/a> 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.<br \/>\nThe 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.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone\" title=\"Methode graphique, Jules-etienne Marey\" src=\"http:\/\/incident.net\/users\/julie\/wordpress\/wp-content\/uploads\/2011\/11\/EJM.jpg\" alt=\"\" width=\"520\" height=\"267\" \/><br \/>\nEtienne-Jules Marey, walking.<\/p>\n<p>To end this post, I would like to quote Georges Didi-Huberman, who, speaking about the <em>mareysienne curve<\/em> sayd that it \u00e2\u20ac\u0153transforms the idea of the phenomenon and its possibility of image\u00e2\u20ac\u009d (\u00c2\u00a0transforme \u00c3\u00a0 la fois l\u00e2\u20ac\u2122id\u00c3\u00a9e du ph\u00c3\u00a9nom\u00c3\u00a8ne et celle de sa possibilit\u00c3\u00a9 d\u00e2\u20ac\u2122image).<\/p>\n<p>If I had a definition for what is art (I have too many) it would be very close.<br \/>\nA vast program J<\/p>\n<p>&nbsp;<\/p>\n<p><strong><br \/>\n<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Un petit rappel, en anglais, de pleins de choses d\u00c3\u00a9j\u00c3\u00a0 vues, ou en cours..<\/p>\n","protected":false},"author":1,"featured_media":3628,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,12],"tags":[206],"_links":{"self":[{"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/3627"}],"collection":[{"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3627"}],"version-history":[{"count":11,"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/3627\/revisions"}],"predecessor-version":[{"id":5204,"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/3627\/revisions\/5204"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=\/wp\/v2\/media\/3628"}],"wp:attachment":[{"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3627"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3627"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/incident.net\/users\/julie\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3627"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}