{"id":400117,"date":"2000-04-10T22:00:00","date_gmt":"2000-04-10T22:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400117"},"modified":"2000-04-10T22:00:00","modified_gmt":"2000-04-10T22:00:00","slug":"incident-net","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/flex\/incident-net\/","title":{"rendered":"incident.net"},"content":{"rendered":"
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http:\/\/www.incident.net\/<\/b><\/a><\/p>\r\n\r\n

In view of the genres\r\nof five young French artists – Joelle Bitton, Gregory Chatonsky,\r\nPhilippe Dabasse, Karen Dermineur, Reynald Drouhin and Julie Morel –\r\nthe website found at the above address summarizes their rather heterogeneous\r\nworks. Alongside their web-projects, writings of a theoretical nature,\r\ndownloadable screensaver programs, "error art" t-shirts on order,\r\nand even sound-CD’s are available here. The web-projects, in part, are\r\njoined to the homepage only in the form of links, and it emerges from\r\nthe project description that the aim of the artists was not the production\r\nof an organic website, but rather the establishment of a network node\r\nthat endeavours to examine the points of contact between art, philosophy\r\nand technology. Independent of genre, it gathers up the artistic-theoretical\r\nproducts related to this.<\/p>\r\n

From the conscious,\r\nactive and well-prepared presence of each of the works, the relation of\r\nthe individual (the author, as well as the recipient user) to hypermedia\r\n(the analysis of the medium being the theme of these artists) in the multimedia\r\nworld of the Internet, though not the operation of technology, is revealed.\r\nIn the background of the individual projects, the guiding principle lurking\r\nin the theoretical reflections is the interaction between the person and\r\nthe immaterial space of the network, the positioning of the relationship\r\ninto the focus.<\/p>\r\n

At the same time,\r\nthe works found here are entirely experimental; with the propagation of\r\nthe new technologies, the multimedia possibilities and forms of the media\r\nhave been rendered accessible, and they might even be considered as linguistic\r\nanalyses. In my opinion, the surveyable, researchable attitude of the\r\npotential genres of on-line speaking is admirable, especially in view\r\nof the fact that the projects attempt a technical virtuosity deserving\r\nof recognition.<\/p>\r\n

Because the works\r\nattempt to raise questions in connection with the ethereal informational-space,\r\nand with the subjective interpretation of time and distance measured within\r\nit, in their search for the possible forms and frameworks for content\r\npublishable on the Internet, they employ a fairly large amount of technology,\r\nunderstandably. In order to view the works, in practically every case\r\nit is necessary to download some sort of "plug-in" or other,\r\nbut the project-pages opening from the main page indicate the required\r\nsupplementary programs, which are anyway fairly widely distributed, and\r\nthus, there is a good chance that they are already present in the viewing\r\ncomputer. An extremely creative usage of these "plug-ins" is\r\ncharacteristic in the case of each project – not only from the perspective\r\nof vision, but from that of sound, as well.<\/p>\r\n\r\n

There\r\nis only one project found on http:\/\/www.incident.net\/<\/a>\r\nwhich is based upon a theme treated by several authors: “Silence”\r\n(http:\/\/www.incident.net\/home\/works\/silence\/<\/a>),\r\nwhose title is interpreted in various ways by Joelle Bitton, Gregory Chatonsky,\r\nReynald Drouhin and Julie Morel. The adapted technology (Macromedia Flash\r\n4), nevertheless, is identical in each related project, and even in spite\r\nof the differing approaches, they result, to some extent, in a common\r\nvisual world. However, it is not merely the title, but the technology\r\ndeveloped for the realisation of the quickly downloadable animations,\r\nthe webpages enriched with sound and moving images, that provide the individual\r\nworks with unique novelty, in a visual sense as well. Common among them\r\nis the interest directed at interactive forms and the attitude of the\r\nreceiver, and the appropriate experimentation with the potentialities\r\nand limits of the “multimedia-response”.<\/p>\r\n

Although the "Silence"\r\nproject is the only material on the website which is associated with the\r\nnames of several artists, perhaps the most interesting two works accessible\r\nfrom the network node demonstrate considerable correlations with each\r\nother. By way of the points of engagement between Reynald Drouhin’s “Rhizome”\r\nand Gregory Chatonsky’s “Nervures”, a significantly broader\r\nfield of interpretation is opened up between the projects than would otherwise\r\nbe the case for the individual works, inspiring as they are independently.<\/p>\r\n\r\n

"Rhizome"\r\n(http:\/\/www.ensba.fr\/rhizomes\/<\/a>)\r\n– in the words of the author – aimed for the foundation of a\r\n“ephemeral and collective” artwork. Drouhin offers the pieces\r\nof an image sliced into 192 miniscule details to potential participants\r\nin the hopes that they will place those pieces visibly on their own websites.\r\nOnly the pieces of the complete image that some participant has “adopted”\r\nand made available on her\/his own website appear on the webpage that contains\r\nthe whole picture (http:\/\/www.ensba.fr\/rhizomes\/rhizomes.html<\/a>).\r\nThe picture, however, presumedly never coheres completely from the mosaics\r\naccessible from the various corners of the network, since the “adoption”\r\nis only applied for a determined length of time: there are those who undertake\r\nto render accessible a detail only for a few days, or even merely for\r\nan hour, and consequently, with the expiration of the accepted time-period,\r\nthis detail is rendered eternally invisible.<\/p>\r\n\r\n

Gregory\r\nChatonsky’s work entitled “Nervures” (http:\/\/www.incident.net\/works\/nervures<\/a>)\r\nresponds to the thematic of “Rhizome”: while “Rhizome”\r\nis concerned with the “collective demonstration” of a “transient\r\npicture collaboratively rendered visible”, “Nervures” is\r\ninterested in the “imageless” geography of the adopted picture-fragments.\r\nRather than the handling and presentation of the picture-fragments, Chatonsky\r\nresearches the trajectories between the servers giving them space and\r\nthe terminals of the viewers. In connection with the network, the use\r\nof the practically clich\u00e9 nervous system analogy of “Rhizome”\r\nis treated as a metaphor for digital memory. He does this not in the customary\r\nway, to the extent that he focuses on topology rather than topography,\r\nand that he substitutes human-paced (as corresponding to the temporality\r\nof the net) solutions for the spatial coordinates of access. In the immaterial\r\ndigital space, distance (or, the energy processed to conquer it) is a\r\nfunction of bandwidth, and thus a category of time. That which arrives\r\nslowly to the computer of the viewer is far away, while that which might\r\nfall at a greater distance in a geographical sense is close – if\r\nit is within reach vis-à-vis a high-bandwidth connection. Postulating\r\n“identical” bandwidth, that which does not attract great interest\r\nappears closer, since, if the same route is popular among the netizens\r\ncommunity, then the bandwidth must be shared among many when downloading,\r\nwhilst the road is clear to the uninteresting website. With the direct\r\nquestioning of the nerve-course as the oft-mentioned commonplace of the\r\ntrails of the network, Chatonsky attempts to think through the emerging\r\nquestions in a direct line of logic, and with his witty metaphors, he\r\ntruly makes a lot clear, but he also calls attention to the dangers of\r\n– perhaps striking – excessive and unfounded simplification.<\/p>\r\n

Finally, leaving\r\ninterpretation to the viewer, among the pages accessible from http:\/\/incident.net\/<\/a>\r\n, I would like to highlight Chatonsky’s work, “Third Rivens”\r\n(http:\/\/www.cicv.fr\/creation_artistique\/online\/3rives\/home\/<\/a>):\r\nthe virtual reality of the work is based on (VRML) technology, and he\r\ncapitalizes upon, in an extraordinarily inspiring mode, the surplus of\r\nthe visual world as furnished by the three-dimensional space, as contrasted\r\nto the fact that he does not exploit the potentialities of spatial interactivity\r\nto their fullest. It is planned that Reynald Drouhin and Gregory Chatonsky,\r\nin the second half of this year, as guest artists-in-residence at C3<\/sup><\/a>,\r\nwill realise a collaborative virtual reality project whose theme is precisely\r\nthe investigation of interactivity as provided by VRML, and which can\r\nbe considered as a further development of this work.<\/p>\r\n\n<\/p>","protected":false},"excerpt":{"rendered":"

    http:\/\/www.incident.net\/ In view of the genres of five young French artists – Joelle Bitton, Gregory Chatonsky, Philippe Dabasse, Karen Dermineur, Reynald Drouhin and Julie Morel – the website found at the above address summarizes their rather heterogeneous works. Alongside their web-projects, writings of a theoretical nature, downloadable screensaver programs, "error art" t-shirts on […]<\/p>\n","protected":false},"author":1,"featured_media":630117,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-400117","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-flex"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400117","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/comments?post=400117"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400117\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630117"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400117"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400117"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}