Migrating Reality Project Coordinator.

Bookshelf. Installation.

Bookshelf, 2006

Rapid flow of letters and numbers on a monitor wall has nothing to do with chaos theory which can cause big disruptions in our world. It has also nothing to do with hackers world as one would like to say. Bookshelf represents a network traffic translated into descriptive form, so the unseen side of “networking” would be understandable or at least readable. In a technical terms the flow of letters and numbers on the monitors would sound like ‘tcpdump’, a common computer network debugging tool.

Bookshelf, 2007 in cooperation with superfactory.biz

monitor wall within a context of “memex game” a “memory extender” game, the term of which was used to call a proto hypertext computer system influencing the development of subsequential hypertext and intellectual augmenting computer systems. A “memex game” is a visual translation of that complex systems proposed by Vannevar Bush back in 1945. Here you get to know exciting people of the scene - the hacker artisan, the peer-to-peer oparist, the open source ego, etc. - all necessary to build up a more or less complex structure of contemporary economy and politics.

Superfactory(TM) - ASCII MEMEX Game “Be A Winner!”

www.superfactory.biz/game.html

triple-double-u / bookshelf

www.triple-double-u.com/bookshelf

Daniel Barthélémy, Gilles Bollaert

“Pixel Memories” is a Research Workshop. Its work is based on a principle that uses the pixel value of an image - or sequence of images - as temporal index to generate images with non-synchronous pixels. The indexing might be based on the intensity of the pixels, their chromatic value, or a combination of both. Persistence and accumulation effects, or proximity influence might be added to the indexing principle to obtain an even larger array of effects inducing a sort of “memory” of the pixels. By using the pixel as matter at work, the image is jeopardized in its very nature, and escapes the simple mimetic representation of reality.

As this mechanism enables to blend, in a very subtle way, different temporalities into the image, it was given the generic name of “Pixel Memories”.

Matter, Form and Narration. This principle of indexing pixels into time is a new form of narration that excites the creativity of artists when it comes to processing movement in a cinematographic image. There, movements are described in a non-linear, non-synchronous form, temporality is fragmented, deferred, distorted and anamorphic. Imbrications, irruptions, and contaminations, all these processes generate ” breaches of parallel time” where stories can be juxtaposed or merged.

The processing of such composite images also poses the question of the status of sound and its relationship to different spatio-temporal spaces.

During this symposium, the works of the site will be updated, and five students will discuss their current research.

Still Life. 3D Animation.

In meditation we can see through the illusion of past, present and future - our experience becomes the continuity of nowness. The past is only an unreliable memory held in the present. The future is only a projection of our present conceptions. The present itself vanishes as soon as we try to grasp it. (HH Dilgo Khyentse Rinpoche)

/SLIDERS/ is an ambitious artistic and technical endeavour that proposes a new way of imagining and creating cinema. We have invented an open computer machine that enables three “performers” to mount, in real-time and using visual and sound data stored in databases, a new type of film. This film, which has been played at performances in front of spectators, is what we call “the movie to come”, that is to say, an N+1 film in which a new track, a programming track, has been added to the video and sound tracks. One of the features of this new type of film is that it has an infinite number of possible configurations or models.
So, by putting cinematographic language into perspective, we propose a new way of envisioning and creating cinema that uses digital potentialities. Thus, /SLIDERS/ is not a film in the traditional meaning of the word, but rather a /hyper-film/. An N+1 film whose main characteristic is, first, to exist in a virtual state in the computer’s memory, that is to say, in the form of a database, to be then actualised during a public performance.

www.sliders-project.eu

*Keywords*
Live interactive performance, real time video and sound mix, multi screen projection, future cinema, interface design

*Frédéric Curien*
 frederic-curien.magix.net/website

Composer and sound artist, he teaches at the European School of visual Art EESI and at the University of Poitiers. He is directing the /Cartography of the instrumental space of the bassoon/, and is involved with the /ARCAD/ program which aims at integrating in the fine arts, the theoretical tools based on physical modeling (ACROE Grenoble). Frederic Curien is developing the audio of /SLIDERS/, /«a collective experience of interactive cinema »/, project supported by the French Ministry of Culture. He conducts his researches at the intersection between music and visual arts, on the aesthetics of interactive musical spaces into contemporary art. He is interested in the environments of composition and sound synthesis, produced music for the film, scene and the concert stage.

*Jean-Marie Dallet*
 www.dallet.net

Artist, Ph D. professor at the European School of visual Art EESI and the University of Poitiers, he is also the scientifical supervisor of /SLIDERS/ research program, /«a collective experience of interactive cinema »/, supported by the Department of Research and Innovation of the Ministry of Culture (D.A.P.). His theoretical and artistic work questions the fundamental fields of interactivity and the figures which organize the interaction of /SLIDERS. SLIDERS/ is a common and interactive work, a pedagogical topic, an experimental research, which combines J.M. Dallet’s own fields of research and contemporary artistic issues.

*Thierry Guibert*
 www.i-do.org

Artist, professor at the European School of visual Art EESI, he is also Ph D student at the UQUÀM in Canada where his research deals with the notion of hyper-film, based on the « general mechanics » of D.Vertov’ s movie, « the man with the camera . He is developing the visualisation of the database for the SLIDERS project.

*Christian Laroch*
Artist, professor at the European School of visual Art EESI. He is a specialist in robotics and he is questioning the field of contemporary sculpture with his programmed behaviourist works. He is developing SLIDERS video and interface.