Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme form... more Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme formel et spectaculaire rempli de certitudes, qui fait qu'il n'y a rien de plus semblable à une oeuvre d'art contemporain qu'une autre oeuvre d'art contemporain, l'art a néanmoins encore quelque chose à dire de la société, et sur la société. 2 En ce sens, l'art média-archéologique est un art actuel. fig. 1 Mines de tantale au Congo Eric Feferberg/AFP/Getty Images L'art média-archéologique. Une repolitisation de l'art
The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media... more The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media Archaeology? 1 , the author establishes a typology of artists that he calls "mediaarcheological," whose production has to be analyzed in the light of a nascent artistic movement possessing deeply political motivations. Artists "make" a movement when they meet as a group, or gather around one artist, or are gathered by a critique or a curator-as is the case of Harald Szeeman with his famous exhibition in 1969. Twentieth-century art has witnessed but a few large political art movements, which are also art policies in the sense that they represent a way to take political action through art. This is the case of Dada, Futurism, conceptual art. Since the 1990s, movements have given way to commercial signatures of an artistic nature, while the notion of movement has become obsolete, simply because the art world has established legitimate art as an individual and social competition rather than a collective and singular issue. Consequently, micro-movements have arisen, such as Net.Art, which have brought art to the public sphere, or rather to the public time of the internet. In the late 1990s, the internet was already a political and economic space-time too. However, if connection is presently one of the greatest sources of wealth for the economic world, the majority of network artists have paradoxically become individual brands, for lack of being unique, or in other words, purely artistic subjects within collective movements. 4 A contemporary art is one that affects its time. Michel Foucault is one of the great theoreticians of the notion of "era," defined as a condition for thought and action. According to Foucault, an era is determined by its épistémè, meaning a set of relationships between sciences or discourses, which are the emerging parts of theories, Media-archeological art. A re-politicization of art Hybrid, 3 |
Le Centre pour la Communication Scientifique Directe - HAL - Archive ouverte HAL, 2015
Murmures Urbains is an artistic project that builds on Messages Situés , a platform devised... more Murmures Urbains is an artistic project that builds on Messages Situés , a platform devised and developed by Orbe. It offers a " soundwalk " delivering instructions to the spectator in a given space. The spectator is free to complete the actions proposed in the context of a protocol. Depending on the writing of the protocol, the instructions allow the spectator to play with social norms. The spectator oscillates between immersive phases (when he is cut off from the surrounding sound environment), and relational phases. Instructions offer him the opportunity to create his own story. Xavier Boissarie is Orbe CEO. Orbe brings together programmers, designers, artists and scientists around new experiments involving the body and localized media. Website : http://orbe.mobi Email : [email protected]
Murmures Urbains is an artistic project build on Messages Situés, a platform devised and develope... more Murmures Urbains is an artistic project build on Messages Situés, a platform devised and developed by Orbe. It offers a “soundwalk” delivering instructions to the spectator in a given space. The spectator is free to complete the actions proposed in the context of a protocol. Depending on the writing of the protocol, the instructions allow the spectator to play with social norms. The spectator oscillates between immersive phases (when he is cut off from the surrounding sound environment), and relational phases. Instructions offer him the opportunity to create his own story. What is the role of the spectator? Could he be a performer?
On doit à Friedrich A. Kittler d’avoir renouvelé l’approche du sensible et de la pensée à partir ... more On doit à Friedrich A. Kittler d’avoir renouvelé l’approche du sensible et de la pensée à partir d’une interrogation sur leurs conditions média-techniques. Ce numéro explore les liens inédits que ce dernier trace entre techniques médiatiques, sciences humaines, littérature et arts – et qui se traduisent par l’élaboration d’une théorie et d’une discipline nouvelles, voire d’une métaphysique. Lire la suit
The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media... more The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media Archaeology? 1 , the author establishes a typology of artists that he calls "mediaarcheological," whose production has to be analyzed in the light of a nascent artistic movement possessing deeply political motivations. Artists "make" a movement when they meet as a group, or gather around one artist, or are gathered by a critique or a curator-as is the case of Harald Szeeman with his famous exhibition in 1969. Twentieth-century art has witnessed but a few large political art movements, which are also art policies in the sense that they represent a way to take political action through art. This is the case of Dada, Futurism, conceptual art. Since the 1990s, movements have given way to commercial signatures of an artistic nature, while the notion of movement has become obsolete, simply because the art world has established legitimate art as an individual and social competition rather than a collective and singular issue. Consequently, micro-movements have arisen, such as Net.Art, which have brought art to the public sphere, or rather to the public time of the internet. In the late 1990s, the internet was already a political and economic space-time too. However, if connection is presently one of the greatest sources of wealth for the economic world, the majority of network artists have paradoxically become individual brands, for lack of being unique, or in other words, purely artistic subjects within collective movements. 4 A contemporary art is one that affects its time. Michel Foucault is one of the great theoreticians of the notion of "era," defined as a condition for thought and action. According to Foucault, an era is determined by its épistémè, meaning a set of Media-archeological art. A re-politicization of art Hybrid, 3 | 2016 Bernard Stiegler (Iri-Centre Pompidou), with the support of Labex ICCA (Industries Culturelles et Création artistique).
Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme form... more Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme formel et spectaculaire rempli de certitudes, qui fait qu'il n'y a rien de plus semblable à une oeuvre d'art contemporain qu'une autre oeuvre d'art contemporain, l'art a néanmoins encore quelque chose à dire de la société, et sur la société. 2 En ce sens, l'art média-archéologique est un art actuel. fig. 1 Mines de tantale au Congo Eric Feferberg/AFP/Getty Images L'art média-archéologique. Une repolitisation de l'art
artifacts rather than as artworks. The exhibition would have been totally at home in Paul Otlet’s... more artifacts rather than as artworks. The exhibition would have been totally at home in Paul Otlet’s 1910 Mudaneum, which he envisaged “as an enormous intellectual warehouse of books, documents, catalogues and scientific objects. Established according to standardized methods, formed by assembling cooperative everything that the participating associations may gather or classify.” (Union of International Associations, 1914, p. 116). In fact their status as artworks seems irrelevant to me; they are clearly evidence of artists’ roles in articulating digital culture as it happens, as early adopters of new technologies, but not only smart users but smart developers—pushing their development in directions driven by agendas very different from those of the hardware and software designers. It seemed to me the exhibition managed to include, in uneasy equilibrium, display of hardware (functional or not), emulation or performance of work, display of work intended to appear online and not in physic...
The Reading Club is an online venue for simultaneous, collaborative reading and writing, both of ... more The Reading Club is an online venue for simultaneous, collaborative reading and writing, both of which occur within a precisely defined framework: «reariters» are invited to read a given text and to rewrite it within a set number of characters. The public also gets involved, reading and commenting in a chat field. Performances have been held in various languages (sometimes simultaneously), including the language of code. 1 Abrahams and Guez: “The machinic author” Published by RIT Scholar Works, 2019 Journal of Creative Writing Studies 2 Essay
Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme form... more Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme formel et spectaculaire rempli de certitudes, qui fait qu'il n'y a rien de plus semblable à une oeuvre d'art contemporain qu'une autre oeuvre d'art contemporain, l'art a néanmoins encore quelque chose à dire de la société, et sur la société. 2 En ce sens, l'art média-archéologique est un art actuel. fig. 1 Mines de tantale au Congo Eric Feferberg/AFP/Getty Images L'art média-archéologique. Une repolitisation de l'art
The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media... more The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media Archaeology? 1 , the author establishes a typology of artists that he calls "mediaarcheological," whose production has to be analyzed in the light of a nascent artistic movement possessing deeply political motivations. Artists "make" a movement when they meet as a group, or gather around one artist, or are gathered by a critique or a curator-as is the case of Harald Szeeman with his famous exhibition in 1969. Twentieth-century art has witnessed but a few large political art movements, which are also art policies in the sense that they represent a way to take political action through art. This is the case of Dada, Futurism, conceptual art. Since the 1990s, movements have given way to commercial signatures of an artistic nature, while the notion of movement has become obsolete, simply because the art world has established legitimate art as an individual and social competition rather than a collective and singular issue. Consequently, micro-movements have arisen, such as Net.Art, which have brought art to the public sphere, or rather to the public time of the internet. In the late 1990s, the internet was already a political and economic space-time too. However, if connection is presently one of the greatest sources of wealth for the economic world, the majority of network artists have paradoxically become individual brands, for lack of being unique, or in other words, purely artistic subjects within collective movements. 4 A contemporary art is one that affects its time. Michel Foucault is one of the great theoreticians of the notion of "era," defined as a condition for thought and action. According to Foucault, an era is determined by its épistémè, meaning a set of relationships between sciences or discourses, which are the emerging parts of theories, Media-archeological art. A re-politicization of art Hybrid, 3 |
Le Centre pour la Communication Scientifique Directe - HAL - Archive ouverte HAL, 2015
Murmures Urbains is an artistic project that builds on Messages Situés , a platform devised... more Murmures Urbains is an artistic project that builds on Messages Situés , a platform devised and developed by Orbe. It offers a " soundwalk " delivering instructions to the spectator in a given space. The spectator is free to complete the actions proposed in the context of a protocol. Depending on the writing of the protocol, the instructions allow the spectator to play with social norms. The spectator oscillates between immersive phases (when he is cut off from the surrounding sound environment), and relational phases. Instructions offer him the opportunity to create his own story. Xavier Boissarie is Orbe CEO. Orbe brings together programmers, designers, artists and scientists around new experiments involving the body and localized media. Website : http://orbe.mobi Email : [email protected]
Murmures Urbains is an artistic project build on Messages Situés, a platform devised and develope... more Murmures Urbains is an artistic project build on Messages Situés, a platform devised and developed by Orbe. It offers a “soundwalk” delivering instructions to the spectator in a given space. The spectator is free to complete the actions proposed in the context of a protocol. Depending on the writing of the protocol, the instructions allow the spectator to play with social norms. The spectator oscillates between immersive phases (when he is cut off from the surrounding sound environment), and relational phases. Instructions offer him the opportunity to create his own story. What is the role of the spectator? Could he be a performer?
On doit à Friedrich A. Kittler d’avoir renouvelé l’approche du sensible et de la pensée à partir ... more On doit à Friedrich A. Kittler d’avoir renouvelé l’approche du sensible et de la pensée à partir d’une interrogation sur leurs conditions média-techniques. Ce numéro explore les liens inédits que ce dernier trace entre techniques médiatiques, sciences humaines, littérature et arts – et qui se traduisent par l’élaboration d’une théorie et d’une discipline nouvelles, voire d’une métaphysique. Lire la suit
The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media... more The term media-archeological art was first coined by theoretician Jussi Parikka. In What is Media Archaeology? 1 , the author establishes a typology of artists that he calls "mediaarcheological," whose production has to be analyzed in the light of a nascent artistic movement possessing deeply political motivations. Artists "make" a movement when they meet as a group, or gather around one artist, or are gathered by a critique or a curator-as is the case of Harald Szeeman with his famous exhibition in 1969. Twentieth-century art has witnessed but a few large political art movements, which are also art policies in the sense that they represent a way to take political action through art. This is the case of Dada, Futurism, conceptual art. Since the 1990s, movements have given way to commercial signatures of an artistic nature, while the notion of movement has become obsolete, simply because the art world has established legitimate art as an individual and social competition rather than a collective and singular issue. Consequently, micro-movements have arisen, such as Net.Art, which have brought art to the public sphere, or rather to the public time of the internet. In the late 1990s, the internet was already a political and economic space-time too. However, if connection is presently one of the greatest sources of wealth for the economic world, the majority of network artists have paradoxically become individual brands, for lack of being unique, or in other words, purely artistic subjects within collective movements. 4 A contemporary art is one that affects its time. Michel Foucault is one of the great theoreticians of the notion of "era," defined as a condition for thought and action. According to Foucault, an era is determined by its épistémè, meaning a set of Media-archeological art. A re-politicization of art Hybrid, 3 | 2016 Bernard Stiegler (Iri-Centre Pompidou), with the support of Labex ICCA (Industries Culturelles et Création artistique).
Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme form... more Dans cette époque troublée, où l'art contemporain est tué par le marché et par un maniérisme formel et spectaculaire rempli de certitudes, qui fait qu'il n'y a rien de plus semblable à une oeuvre d'art contemporain qu'une autre oeuvre d'art contemporain, l'art a néanmoins encore quelque chose à dire de la société, et sur la société. 2 En ce sens, l'art média-archéologique est un art actuel. fig. 1 Mines de tantale au Congo Eric Feferberg/AFP/Getty Images L'art média-archéologique. Une repolitisation de l'art
artifacts rather than as artworks. The exhibition would have been totally at home in Paul Otlet’s... more artifacts rather than as artworks. The exhibition would have been totally at home in Paul Otlet’s 1910 Mudaneum, which he envisaged “as an enormous intellectual warehouse of books, documents, catalogues and scientific objects. Established according to standardized methods, formed by assembling cooperative everything that the participating associations may gather or classify.” (Union of International Associations, 1914, p. 116). In fact their status as artworks seems irrelevant to me; they are clearly evidence of artists’ roles in articulating digital culture as it happens, as early adopters of new technologies, but not only smart users but smart developers—pushing their development in directions driven by agendas very different from those of the hardware and software designers. It seemed to me the exhibition managed to include, in uneasy equilibrium, display of hardware (functional or not), emulation or performance of work, display of work intended to appear online and not in physic...
The Reading Club is an online venue for simultaneous, collaborative reading and writing, both of ... more The Reading Club is an online venue for simultaneous, collaborative reading and writing, both of which occur within a precisely defined framework: «reariters» are invited to read a given text and to rewrite it within a set number of characters. The public also gets involved, reading and commenting in a chat field. Performances have been held in various languages (sometimes simultaneously), including the language of code. 1 Abrahams and Guez: “The machinic author” Published by RIT Scholar Works, 2019 Journal of Creative Writing Studies 2 Essay
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