Depuis quelques ann\u00e9es, la prise en compte \u00e9cologique est parvenue au premier plan des pr\u00e9occupations humaines. La pollution, li\u00e9e \u00e0 une intense activit\u00e9 humaine, qui s’est acc\u00e9l\u00e9r\u00e9e ces 50 derni\u00e8res ann\u00e9es, est \u00e0 l’origine des bouleversements environnementaux mettant en p\u00e9ril l’\u00e9quilibre de l’\u00e9cosyst\u00e8me plan\u00e9taire.
\nDans l’univers m\u00e9diatique contemporain, la notion de pollution intervient d\u00e8s lors qu’un message est alt\u00e9r\u00e9, transformant ou rendant difficile sa r\u00e9ception. D’un autre c\u00f4t\u00e9, la pollution appara\u00eet aussi dans la transformation qu’elle op\u00e8re sur le message, comme un \u00e9l\u00e9ment r\u00e9v\u00e9lateur d’un trop grand polissage du flux hyperm\u00e9diatique contemporain. Dans la question environnementale, la pollution indique un exc\u00e8s, une saturation, qui constitue donc un indicateur et une mise en garde \u00e0 plus de \u00ab pr\u00e9caution \u00bb et de prise en compte des \u00e9cosyst\u00e8mes.
\nLa pollution est un fait nouveau qui appara\u00eet avec la r\u00e9volution industrielle. Son appropriation, sa repr\u00e9sentation par les artistes est donc aussi un fait nouveau. Si visuellement, on peut en trouver des repr\u00e9sentations chez William Turner (dont les travaux sont de nos jours utilis\u00e9es par des scientifiques pour mod\u00e9liser les changements climatiques), c’est surtout chez les expressionnistes que le motif de la pollution comme exc\u00e8s appara\u00eet dans toute sa force de repr\u00e9sentation: les toiles urbaines de Georg Grosz, les violentes d\u00e9constructions cubistes, sont autant de signes d’une cacophonie urbaine naissante \u00e0 la fin du 19e si\u00e8cle.
\nSi la pollution renvoie instinctivement \u00e0 un brouillage visuel repr\u00e9sent\u00e9 par le d\u00e9versement des fum\u00e9es des nouvelles industries lourdes du 19e si\u00e8cle, c’est aussi l’apparition d’un nouvel environnement sonore satur\u00e9 de bruits qui rend compte de transformations importante dans l’espace vital de l’\u00eatre humain. Hors de toute passivit\u00e9 face \u00e0 ce nouveau fl\u00e9au, Luigi Russollo s’enthousiasme dans \u00ab l’Art des bruits \u00bb de l’apparition de nouvelles formes sonores, de bruits, que ses contemporains ne tardent pas \u00e0 s’approprier. Ces nouvelles formes sont un miroir \u00e9vident d’une soci\u00e9t\u00e9 plus nerveuse, souvent urbanis\u00e9e, o\u00f9 la pollution des machines est devenu l’environnement de vie des contemporains.
\nLa pollution enfin est corollaire de notre commerce quotidien avec l’\u00e9lectricit\u00e9 et le num\u00e9rique qui transportent nos oeuvres de l’esprit en les transformant. Le propre m\u00eame de ces nouvelles technologies de la communication est de transposer les m\u00e9dias en d’autres signaux, en d’autres codes, modifiant, d\u00e9teriorant au passage l’information, donc en quelque sorte la polluant.
\nLa pollution n’est pas toujours mat\u00e9rialisable par une alt\u00e9ration visible de notre environnement: d’autres formes de pollution \u00e9mergent, invisibles, et qui ont des effets induits dont nous sommes encore peu \u00e0 m\u00eame de mesurer les r\u00e9percussions: pollutions \u00e9lectromagn\u00e9tiques rendues audibles par Robin Rimbaud dans son projet sonore \u00ab Scanner \u00bb, saturations cognitives dans le d\u00e9ferlement informationnel du r\u00e9seau internet, transformation du regard face aux d\u00e9ferlement d’images num\u00e9riques errod\u00e9es par leur transcodage.
\nEntre destruction visible et r\u00e9v\u00e9lation d’un fourmillement invisible de formes microscopiques, le motif de la pollution innerve l’int\u00e9gralit\u00e9 de notre rapport \u00e0 notre environnement, plus encore dans notre commerce quotidien avec les machines dont l’apparente inocuit\u00e9e cache des r\u00e9percussions fortes sur la transformation du genre humain.<\/p>\n\n\n\n
In recent years, concerns about the environment have reached the forefront of human concerns. Pollution, a result of the intense human activity which has accelerated in the last 50 years, is at the origin of the environmental changes that currently put in danger the global ecosystem.
\nIn the contemporary media universe, the notion of pollution becomes apparent in the alteration of messages or signals, by transforming or impeding their reception. At the same time, pollution also appears as a transformation which operates on the message, revealing the over-polished nature of the contemporary media stream. In the physical environment, pollution indicates excess and (over)saturation, acting as an indicator and a warning for greater consideration of the ecosystem.
\nPollution’s significance dates back to the industrial revolution. Likewise its appropriation and representation by the artists is also a relatively recent phenomenon. If we can find visually representations in the work of William Turner (whose pieces are today used by scientists to model climate change), it is particularly with the expressionists that the concept of pollution as excess appears in all its strength of representation: Georg Grosz’s urban paintings, and the violent deconstructions of the Cubists are indeed clear signs of the urban cacophony at the end of the 19th century.
\nIf pollution sends us back instinctively to a visual static represented by the smoke produced by the new heavy industries of the 19th century, it is also the appearance the new saturated noise environment that speaks to the significant transformation of the living space of the human being in the era. Irrespective of the generally passive response to this plague, Luigi Russollo is inspired in \u00ab The Art of Noises \u00bb by the appearance of new sound forms that he and his contemporaries did not delay appropriating. New forms such as his are a clear sign of a sensitized, often urbanized society, where the pollution by machines became and integral part of the people’s environment.
\nThe very purpose of new technologies of communication is to transpose one form of media into signals, into other codes, modifying and degrading the information, and thus in a sense polluting it. Pollution is in the end a corollary for our daily work of using electricity and digital technology, modifying our works of the mind by transforming them.
\nPollution is not always realized through a visible change of our environment: other forms of pollution appear, sometimes invisible, and which have repercussions which we still have difficultly measuring. For example: electromagnetic pollution made audible by Robin Rimbaud in his sound project \u00ab To scan \u00bb, the cognitive saturations in the informative flow of the Internet, and the transformation of the regard in the face of the endless flow of digital images degraded by their transmission.
\nBetween visible destruction and the impact microscopic effects, the question of pollution impacts at every level our relationship to our environment, especially in our daily interactions with machines where visible innocuousness often hides strong repercussions for the transformation of the human race.<\/p>\n","protected":false},"excerpt":{"rendered":"
Depuis quelques ann\u00e9es, la prise en compte \u00e9cologique est parvenue au premier plan des pr\u00e9occupations humaines. La pollution, li\u00e9e \u00e0 une intense activit\u00e9 humaine, qui s’est acc\u00e9l\u00e9r\u00e9e ces 50 derni\u00e8res ann\u00e9es, est \u00e0 l’origine des bouleversements environnementaux mettant en p\u00e9ril l’\u00e9quilibre de l’\u00e9cosyst\u00e8me plan\u00e9taire. Dans l’univers m\u00e9diatique contemporain, la notion de pollution intervient d\u00e8s lors…<\/p>\n","protected":false},"author":1,"featured_media":4677,"template":"","meta":[],"portfolio_category":[29],"portfolio_tag":[203],"_links":{"self":[{"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/portfolio\/4208"}],"collection":[{"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/types\/portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"version-history":[{"count":3,"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/portfolio\/4208\/revisions"}],"predecessor-version":[{"id":4678,"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/portfolio\/4208\/revisions\/4678"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/media\/4677"}],"wp:attachment":[{"href":"https:\/\/incident.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4208"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/incident.net\/index.php?rest_route=%2Fwp%2Fv2%2Fportfolio_category&post=4208"},{"taxonomy":"portfolio_tag","embeddable":true,"href":"https:\/\/incident.net\/index.php?rest_route=%2Fwp%2Fv2%2Fportfolio_tag&post=4208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}