In Vertigo (1958), a man in a car follows a woman who is looking for an inexistant past. Using Google Streetview, the artist found back the filming sites of the movie. He was thus able to reproduce with precision the caracters course in San Francisco. He filmed Vertigo for a second time but stayed home to do it.<\/p>\n\n\n\n
Christine Sprengler, Hitchcock and Contemporary Art, 2014 :\u00a0\u00bbVertigo\u2019s soundtrack\u2014this time unaltered and complete with sound effeCts\u2014also provides continuity to Gregory Chatonsky\u2019s Vertigo@home. Over the course of approximately nine minutes, this virtual cinephilic pilgrimage leads us through Scottie\u2019s San Francisco, folowing his route and visiting the very same sites he did in the ?lm. However, Chatonsky neither ?lmed the journey itself, nor were any sequences appropriated from Hitchcock\u2018s original. As the title indicates, Vertig?lwmt was created by Chatonsky at home, a feat made possible by the use of Google Streetview. A function of Google Maps, Streetview offers navigators a car\u2019s\u2014eye view of the roads they plan to travel, offering a fairly clear picture of structures, landmarks, and, as privacy advocates have lamented, people in compromising situations.
Chatonsky matches his route to Scottie\u2019s as closely as possible, \u201cediting\u201d as Hitchcock did, in order to sync the soundtrack with the action (i.e., pace of travel). When Scotn\u2019e goes indoors, the screen turns black and our only stimuli are sound effects such as Scottie\u2019s footsteps and a car door slamming. At these moments, the work of the Foley artist becomes most apparent. We become aware of the occasional and uncharacteristic minimalism of Vtrn\u2019ga\u2019s soundtrack and the function of its erasure of ambient sound. The sound effects are isolated from their attendant images and from the fullness of the score that typically subsumes these sounds. In this instance, we hear only the sounds Scottie makes, suggesting all his energy is being marshaled into looking and thus signifying the interiority of his state of mind during this pursuit.
Chatonsky\u2019s use of appropriated sound here also raises another set of interesting issues with respect to fact and ?ction, the real and the virtual. Speci?cally, it encourages us to think about ?ction and arti?ce in relation to sound, something we may be unaccustomed to doing. We might readily assess the veracity of the image when confronted with visual effects while watching a ?lm, but rarely do we subject sound to such scrutiny. In Vertigo@home though, such an exercise is seemingly encouraged. Although Google Streetview offers us a virtual tour of San Francisco, its images are read as real. They are outside the domain of ?ction and as part of a mapmaking endeavor must, by de?nition and necessity, re?ect real physical space, real geography. This is not to say that these images are not mediated by their technology or aesthetic markers, something we will address in just a moment, but that all things point to Chatonsky\u2019s images as unmistakably \u201creal.\u201d<\/p>\n\n\n\n
–<\/p>\n\n\n\n
Dans Vertigo (1958), un homme dans une voiture suit une femme qui est \u00e0 la recherche d’un pass\u00e9 inexistant. Gr\u00e2ce \u00e0 Google Streetview, l’artiste a retrouv\u00e9 les lieux de tournage du film. Il a ainsi pu reproduire avec pr\u00e9cision le parcours des personnages \u00e0 San Francisco. Il a film\u00e9 Vertigo une deuxi\u00e8me fois mais est rest\u00e9 \u00e0 la maison pour le faire.<\/p>\n\n\n\n
Christine Sprengler, Hitchcock and Contemporary Art, 2014 : \u00ab\u00a0La bande sonore de Vertigo – cette fois-ci intacte et compl\u00e8te avec des effets sonores – assure \u00e9galement la continuit\u00e9 de Vertigo@home de Gregory Chatonsky. Pendant environ neuf minutes, ce p\u00e8lerinage cin\u00e9philique virtuel nous conduit \u00e0 travers le San Francisco de Scottie, en suivant son itin\u00e9raire et en visitant les m\u00eames sites que ceux qu’il a visit\u00e9s dans le ?lm. Cependant, Chatonsky n’a pas ?lmed le voyage lui-m\u00eame, et aucun
des s\u00e9quences reprises de l’original d’Hitchcock. Comme le titre l’indique, Vertig?lwmt a \u00e9t\u00e9 cr\u00e9\u00e9 par Chatonsky chez lui, un exploit rendu possible par l’utilisation de Google Streetview. Fonction de Google Maps, Streetview offre aux navigateurs une vue d’ensemble des routes qu’ils pr\u00e9voient de parcourir, offrant une image assez claire des structures, des points de rep\u00e8re et, comme l’ont d\u00e9plor\u00e9 les d\u00e9fenseurs de la vie priv\u00e9e, des personnes en situation compromettante.
Chatonsky fait correspondre son itin\u00e9raire \u00e0 celui de Scottie le plus \u00e9troitement possible, en effectuant un \u00ab\u00a0montage\u00a0\u00bb comme l’a fait Hitchcock, afin de synchroniser la bande son avec l’action (c’est-\u00e0-dire le rythme du voyage). Lorsque Scotn’e entre \u00e0 l’int\u00e9rieur, l’\u00e9cran devient noir et nos seuls stimuli sont des effets sonores tels que les pas de Scottie et le claquement d’une porti\u00e8re de voiture. C’est \u00e0 ce moment que le travail de l’artiste Foley devient le plus apparent. Nous prenons conscience du minimalisme occasionnel et inhabituel de la bande-son de Vtrn’ga et de la fonction d’effacement du son ambiant qu’elle comporte. Les effets sonores sont isol\u00e9s des images qui les accompagnent et de la pl\u00e9nitude de la partition qui subsiste g\u00e9n\u00e9ralement de ces sons. Dans le cas pr\u00e9sent, nous n’entendons que les sons que Scottie produit, ce qui sugg\u00e8re que toute son \u00e9nergie est mobilis\u00e9e pour regarder et signifie donc l’int\u00e9riorit\u00e9 de son \u00e9tat d’esprit pendant cette qu\u00eate.
L’utilisation par Chatonsky de sons appropri\u00e9s soul\u00e8ve ici une autre s\u00e9rie de questions int\u00e9ressantes concernant les faits et les citations, le r\u00e9el et le virtuel. Plus particuli\u00e8rement, elle nous encourage \u00e0 penser \u00e0 la ction et \u00e0 l’arti?ce en relation avec le son, ce \u00e0 quoi nous ne sommes peut-\u00eatre pas habitu\u00e9s. Nous pouvons facilement \u00e9valuer la v\u00e9racit\u00e9 de l’image lorsque nous sommes confront\u00e9s \u00e0 des effets visuels en regardant un film, mais il est rare que nous soumettions le son \u00e0 un tel examen. Dans Vertigo@home cependant, un tel exercice semble encourag\u00e9. Bien que Google Streetview nous propose une visite virtuelle de San Francisco, ses images sont lues comme r\u00e9elles. Elles ne rel\u00e8vent pas du domaine de la cartographie et, dans le cadre d’une entreprise de cartographie, elles doivent, par d\u00e9?nition et par n\u00e9cessit\u00e9, refl\u00e9ter un espace physique r\u00e9el, une g\u00e9ographie r\u00e9elle. Cela ne veut pas dire que ces images ne sont pas m\u00e9diatis\u00e9es par leur technologie ou leurs marqueurs esth\u00e9tiques, ce que nous aborderons dans un instant, mais que tout indique que les images de Chatonsky sont incontestablement \u00ab\u00a0r\u00e9elles\u00a0\u00bb.<\/p>\n\n\n\n
Seconde version HD r\u00e9alis\u00e9e en 2015 pour l\u2019exposition Walkers.<\/p>\n","protected":false},"excerpt":{"rendered":"
In Vertigo (1958), a man in a car follows a woman who is looking for an inexistant past. Using Google Streetview, the artist found back the filming sites of the movie. He was thus able to reproduce with precision the caracters course in San Francisco. He filmed Vertigo for a second time but stayed home…<\/p>\n","protected":false},"author":1,"featured_media":4544,"template":"","meta":[],"portfolio_category":[25,17],"portfolio_tag":[42,78,99,109,114,115,116,117,119,120,121],"_links":{"self":[{"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/portfolio\/4521"}],"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":10,"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/portfolio\/4521\/revisions"}],"predecessor-version":[{"id":4888,"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/portfolio\/4521\/revisions\/4888"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/incident.net\/index.php?rest_route=\/wp\/v2\/media\/4544"}],"wp:attachment":[{"href":"https:\/\/incident.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4521"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/incident.net\/index.php?rest_route=%2Fwp%2Fv2%2Fportfolio_category&post=4521"},{"taxonomy":"portfolio_tag","embeddable":true,"href":"https:\/\/incident.net\/index.php?rest_route=%2Fwp%2Fv2%2Fportfolio_tag&post=4521"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}