Artworks

Digital Art: Ideas in motion… for new art emotions!

Director: Simon Rudelle.
Digital Art : videos on DVD of endless moving original works The concept is to animate art works endlessly in order to give to the spectator a calming feeling that makes the concept understanding easier. The digital works are on DVD, you can watch them at home or outside (TV or projector in the living room, bedroom, office, outside…) and then create a special atmosphere. The slow and gradual colour scrolling is unobtrusive, blends into your interior and gives you a calming feeling. Contact : Simon Rudelle Email : srudelle@gmail.com More informations : www.digitalart.rudelle.info

eLiterature

Director: Lello Masucci .
the history of love of an actress who must interpret an angel.

Everlandia

Director: Martin Bricelj.
Everlandia is a journey of a special/personal kind. It playfully confronts an individual with their fantasies, needs and desires. It challenges the imagination to pick and compose from those landscapes, plants and animals, which most accurate express the image of the individual's dreamland. Their Everlandia. The invented land remains the property of its creator and is saved on the web page. The visitor will be able to send it from the gallery as a postcard and of course keep it in their heart.

Everlandia is a multimedia project by media artist Martin Bricelj, which through interactive exploration, reflection and discovery creates an inquiry into patterns of desire. In the context of the evolution of reality, it re-examines the relationship between man, technology and the unknown. Everlandia is a journey into the unknown.

A friendly agent in a gallery, transformed into an Everlandia agency will hand visitors an interesting questionnaire (made for inquiry purposes) and present them with other agency offers. It will be possible to visit Everlandia one day! The research phase and the phase of gathering image suggestions will be followed by a new adventure. The Everlandia project will again invite and challenge, namely the experience in a dream world generated in a virtual environment.

fibre optic light

Director: .

FORD RAT ROD

Director: Colin Tresadern.

Painting of a Ford rat rod in storm blue colour. An eclectic blend of abstract and realism using Gestalt op-art techniques.

Hard Drives Music

Director: Stéphane Bissières.

Installation : hard drives, arduino. S.Bissières, 2016

Six hard Drives are controled via arduino to make an autonomous musical system. The piece refers to Steve Reich's "Clapping Music". It uses a similar rythmical structure. The upper row of hard drives plays a 12/8 rythmic pattern for the entirety of the piece. The second row plays the same pattern, but after every 4 bars shifts by one eighth note to the right. The two rows continue this until the second row has shifted 12 eighth notes and is hence playing the pattern in unison with the first row again (as at the beginning), 48 bars later.

Like a counterpoint to Steve Reich's piece, for which he wanted to use the human body as sole sound source, the recycled mechanical hard drives are here the only (acoustic) sound sources.

Project supported by Le Cube, Centre de création numérique

 

Histoires Exquises, an audio Exquisite Corpse

Director: Nicolas Guichard.
Histoires Exquises is an installation leaning on the participative aspect of the Exquisite Corpse, and makes it oral, threw a microphone device.Every visitor inherits from the story imagined and told by the previous visitors. By participating wherever he wants in the story, he influences the course of the story, without being certain that his participation will be kept by his successors.

Hunting Trophies

Director: France Cadet.
Hunting trophies is an interactive installation involving a collection of 11 robotic trophies hung on the wall, made from I-Cybie robotic dogs and featuring the most frequent species used in taxidermy. They are hung on the wall in two staggered lines, with the deer-like species, which are more proud, above arrogantly gazing down at you and the cat-like species which are more aggressive, below, looking you straight in the eye. An infrared sensor allows them to detect the presence and the movements of visitors. As you approach, the robots turn their heads in your direction, their eyes light up, come too close and the robot suddenly growls. The closer you get, the more aggressive they become. If you walk fast facing the wall of trophies, a chain reaction will emerge such as a wave of protestation following your walk. These robots allow me to embody questions concerning animals rights and the complex relationship between humans and animals, in this case hunting. They are here considered as a sort of burlesque illustration, an ironic allegory. Descartes’ idea of animal-Machine was ousted by the idea of a pain-feeling animal (Peter Singer) then by the idea that an animal could be the subject of moral concern, thus blurring the boundaries between human and animal. Simultaneously machines became more and more life-like and are considered by certain people today, to be capable of acting as moral agents too. We observe that these notions are merging and that we are moving towards Donna Haraway’s model of modern science in which the distinctions between natural and artificial are completely restructured. These animals-robots are a possible metaphor of these new life forms. They assemble recognizable characteristics from existing species. On the other hand they have generic characteristics and the same size as if they all belonged to the same species. They seem to be normalized, their biodiversity and taxonomic ranks & boundaries erased occulting notions of species, genus, family, order, class… and life. The standardization of our future natural world implies new life forms and more or less a unique species of wildlife. I am conscious that these shiny robots are far away from Steve Baker’s idea of botched taxidermy (“The Postmodern animal”) but I am precisely interested in this paradoxical and self-contradictory use of robots – something new symbolizing cutting edge interactive technology - used here for the representation of hunting trophies - something old and traditional symbolizing death.  I intentionally worked with the design of cute Japanese-looking robots also because this installation raises questions about domestic robots and robots in general, about their quality, their function and their integration into society.  These trophies can be seen as a memento of those endangered animals and those species which have vanished, but also as a token of human victory over technology, a symbolic robotics achievement.

Immunosphère / immunosphere

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Director: Christian Globensky, Artiste, vit et travaille à Paris. Il enseigne à l‘ESAMM. Fondateur du laboratoire le LabVIES, il mène différentes recherches sur les scénographies interactives. Il est actuellement représenté à Paris par le Cause toujours Office. Il est le directeur artistique de l’agence de conception de dispositifs scénographiques interactifs, Interface Design Création. — http://christianglobensky.free.fr — http://www.interface-design-creation.fr/ Tom Mays est compositeur-interprète électronique. Il est professeur associé dans la classe de Nouvelles Technologies appliquées à la composition au Conservatoire National Supérieur de Musique de Paris. http://tmays.free.fr/ .

Immunosphère / immunosphere

Director: Christian Globensky, Artiste, vit et travaille à Paris. Il enseigne à l‘ESAMM. Fondateur du laboratoire le LabVIES, il mène différentes recherches sur les scénographies interactives. Il est actuellement représenté à Paris par le Cause toujours Office. Il est le directeur artistique de l’agence de conception de dispositifs scénographiques interactifs, Interface Design Création. — http://christianglobensky.free.fr — http://www.interface-design-creation.fr/ Tom Mays est compositeur-interprète électronique. Il est professeur associé dans la classe de Nouvelles Technologies appliquées à la composition au Conservatoire National Supérieur de Musique de Paris. http://tmays.free.fr/ .