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DIDYOU MEAN PASCALE BARRET & AVATARS


IDENTITIES AND ANIMAL STUDIES IN THE CONTEXT OF MIXED REALITIES. INTIME / PUBLIC / FICTION FANTASME / RÉALITÉ / PERTE CORPS/ MOUVEMENT / CAGE ARCHITECTURE / PERSPECTIVE /PROJECTION POINT DE FUITE / INFINI / MODÈLE /CONTOUR / POSITION / ERREUR FILS / CHAOS / JEUX / CROYANCE / SUBLIMATION INDIVIDU / MASSE-FLUX / DÉPLACEMENT / SYNCHRONIE INCARNATION / AVATAR / MYTHOLOGIE PERSONNALITÉ MULTIPLE / PA-

THOLOGIE IDENTITAIRE / NARCOSE NARCOTIQUE CLICHÉ / DISTANCE / VERTIGE / PÉRENNITÉ PORNOGRAPHIE / SENSUALITÉ/ SUBVERSIF BESTIAL / NORMÉ / CODE SOURCE / DÉSERT

DÉTAIL/ GLOBAL/ IMMERSION PROFIL / MORTEL /ARTIFICIEL BEAUTY / TRANSPARENCE / LIEUX COMMUNS DÉSIR / CHAIR / REPRÉSENTATION MEMORY / CYBORG/ METAPHORE / FEARS / RANDOM / HYBRID / FADING / REPORT ! DISCOURS / FIGURE /PLACEBO


MUTABILITY. MULTI PLICITY.


bate their condition within these limits. The body thus proceeds to redefine itself. The public is not the only witness; the chosen body, whether real or not, also becomes its own observer. Each body influences the delineation of its own border. Within its limits, it creates space. It is this particular segment, this immanent flaw that is transformed into an experimental field as it highlights the difference between the existing and the attainable. Furthermore, a body’s tensions, imprisonment, and loosening can not be perceived as such.

UNLIMITED BODY Elisa Ganivet

“A being’s reactions are not monuments of elementary movement; but rather gestures doted with an internal unity.”La structure du comportement.” Merleau-Ponty “All of Pascale Barret’s works can be defined within a form, a shifting form that can nonetheless grows within a structural coherence defined by the process. The artist is not content with a gestural approach firmly anchored within a steadfast postmodernity; for it is at this very point within the act that the movement is necessarily circular. However, and herein lies the very subtlety of her art, the viewer comes to the understanding that what we have here is a constant transgression implying a linear passage. In fact, this process spans distinctly separate realities in order to develop and circle back to other conceptions, thus creating a new form composed of tamed structures. What appears to be a paradox is a relentless search for new stimuli. Her innovative dialectic is an elementary, even essential, whole for it surpasses the norm. One of the artist’s main vectors is her work on the tangible or virtual body. She uses the human or animal body to question latent frontiers. Indeed, the changes undergone by the being and its environment exacer-

Violence is a pretext. It is neither contextual nor concrete; however, through its own suggestion, it becomes a metaphor for the contact zone, established by or for the other. Moreover, the Other can be the artist herself. The creation of characters initiated within the fault line facilitates the factual exploration of Difference and Complementarity. Interaction falls in line with the dignity of Otherness. In Pascale Barret’s work, the dialogue between the idea of vulnerability and power through capability, underlines an emotionally rich display. The staging of limits accordingly highlights its opposite and thereby subjugates us with its force.” EG lives and works in Berlin. She is a curator, art historian and conducts a PhD in aesthetics.

Version française ici : http://bit.ly/unlimited-body

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grimacing with pain and suffering. Whereas artistic approaches to cyborg and avatars have been traditionally fascinated by artificial intelligence, reasoning, and conversation, Pascale explores a new and fascinating territory for our relationship with avatars based on emotional communication. In the same line, her future project Beautiful Beasts raises interesting issues about the use of virtual humans in human computer interaction for various purposes (commerce, education, therapy...). It is certainly one of the most relevant approaches to date to the use of virtual humans in art.

CYBORGENETIC CATHARSIS Christian Jacquemin

“Questioning gender, questioning emotions, questioning intimacy, and hosting the web and on-line communities, could only lead Pascale to an encounter with a virtual human... At LIMSI-CNRS Professor Jean-Claude Martin and his PhD student Matthieu Courgeon address the issue of making virtual humans more believable, more empathic... more human, by focusing on the expression of emotions. Their work associates psychological studies on the facial signals that reveal our deep feelings, with advanced computer graphics rendering on photorealistic or expressionist face rendering. Their avatar, named MARC, was introduced to Pascale when she made a visit to LIMSI. Pascale showed a lot of curiosity and a deep understanding for MARC, his emotional world, and the way she could travel inside. MARC was then shipped to Pascale’s workshop. And as soon as she could begin to “play” with him, Pascale introduced a big teddy bear stuffed with controllers and sensors such as gyroscopes, accelerometers, and microphone to grasp MARC and put him under control... Combining anambiguous tender relationship with the bear, and deep sorrow for MARC, she was mistreating him, making him react exaggeratedly, as if he would be

...as if avatars could only enter our physical world by sensing a wide variety of painful emotions through our distressful control, so that we could believe that, yes, they are also humans, after all.” Christian Jacquemin is Professor in Computer Science at LIMSI-CNRS and University Paris-Sud

http://bit.ly/cyborgeneticcatharsis

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profil ? Pourrait-on diviser le chiffre par deux ? voire plus ? Je ne mentionnerai même pas ici les utilisateurs décédés, des sociétés très prévenantes se proposant de gérer votre identité post mortem en ligne (My Webwill : « Your Life Online After Death »).

THIS IS ME Pierre-Yves Desaive

“Rares sont les personnes qui aiment se voir de profil – dans un miroir ou en photographie, il s’agit généralement de l’angle de vue le moins apprécié. Il montre à la fois trop et pas assez, ne révèle rien de la singularité du visage. Et paradoxalement, c’est aujourd’hui le terme le plus utilisé pour désigner l’ensemble des données liées à un individu. Préoccupée depuis longtemps par les questions d’identité, Pascale Barret a tout naturellement été attirée par cette hydre numérique qui connecte entre elles 500 millions d’internautes, Facebook. Bataille de chiffres : comme le répètent à l’envi les détracteurs de Second Life, qui continue de revendiquer une augmentation constante de sa population, une différence subtile (qui peut prendre la taille d’un gouffre) doit être faite entre « inscrits » et « utilisateurs » (on peut être croyant et non pratiquant – c’est en tous cas ce que disent les croyants). Qu’en est-il sur Facebook ? La chasse aux « faux profils » serait ouverte.2 Qu’est-ce qu’un « vrai » profil ? Pour Mark Zuckerberg, il s’agit d’un être humain capable de visionner des messages publicitaires. Mais la vie est courte, alors pourquoi se contenter de n’être que soi ? Second Life (où Pascale est déjà bien active) a ouvert la voie, et les utilisateurs de Facebook suivent tout naturellement la tendance. Sur 500 millions d’inscrits, combien possèdent plus d’un

Cette démultiplication des identités est au cœur du dernier projet de Pascale Barret, dont les « profile pictures » de sa page Facebook présentent une quantité sans cesse grandissante de visages féminins, où le sien n’apparaît tout simplement pas (ou, à tout le moins, pas de manière évidente). Ces images glanées sur l’Internet, de la Jeune fille à la perle de Vermeer à Fay Wray (King Kong), n’ont à première vue rien en commun, si ce n’est le traitement infographique qui les pixellise en partie. Ces voiles numériques, cachant les yeux ou la bouche, font écho aux débats sur la place des signes religieux dans l’espace public (mais après tout, Facebook est tout sauf un espace public). L’une des particularités du travail de Pascale Barret est la connexion qu’il parvient à établir entre monde virtuel et monde réel. Ce dernier projet pousse la réflexion assez loin, puisqu’il sort littéralement l’œuvre numérique du réseau pour la transposer dans un objet physique (que l’on peut, en plus, accrocher au mur) : une peinture sur toile. Concrètement, Pascale a demandé à une peintre spécialisée dans la copie d’exécuter des tableaux de petit format au départ des « profile pictures » partiellement pixellisées. Le geste renvoie aux questions soulevées par Fred Forest sur la marchandisation de l’art numérique (mise en vente aux enchères d’une œuvre en ligne, Parcelle réseau, 1996), ou encore à l’évolution spectaculaire du travail d’Alexeï Shulgin, passé du net art le plus radical à la production de « media objects » vendus par sa galerie (Electroboutique, 2004). Il s’agit aussi d’une inversion du processus habituel de numérisation d’une œuvre (pourrait-on parler ici d’analogisation ?). Enfin, le fait que ce soit une copiste qui ait réalisé les deux tableaux tirés de la série des « profile pictures » (portraits anonymes de Anne Boleyn et de George Sand) n’est pas innocent : l’on songe à ces collectionneurs qui exposent fièrement des copies à la vue de leurs invités crédules, tandis que les originaux dorment dans un coffre. Sauf


qu’ici, un incident de parcours a modifié le sujet en profondeur. Ce genre d’altération, qui peut survenir lors du processus de numérisation d’une œuvre, est assez inattendue de la part d’un peintre copiste, dont le rôle est, par définition, de respecter autant que possible l’intégrité de l’original. Ces visages pixellisés sont la parfaite métaphore du profil d’utilisateur : reflets incomplets de personnes physiques, modifiés par et pour l’environnement numérique dans lequel ils évoluent.” Pierre-Yves Desaive est historien de l’art et critique d’art. Membre de la Commission des arts numériques de la Communauté française de Belgique, conférencier invité à l’ENSAV La Cambre (Bruxelles), ses recherches portent sur l’art et les musées à l’ère des réseaux. Il n’est pas sur Facebook. N’a pas de compte Twitter. Ne possède pas d’iPhone.

English version here : http://bit.ly/thisis-me

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MET·A·MOR·PHO·SIS (MT-M RF-SS) N. PL. MET·A·MOR·PHO·SES (-SZ) 1. A TRANSFORMATION, AS BY MAGIC OR SORCERY. 2. A MARKED CHANGE IN APPEARANCE, CHARACTER, CONDITION, OR FUNCTION. 3. BIOLOGY A CHANGE IN THE FORM AND OFTEN HABITS OF AN ANIMAL DURING NORMAL DEVELOPMENT AFTER THE EMBRYONIC STAGE. METAMORPHOSIS INCLUDES, IN INSECTS, THE TRANSFORMATION OF A MAGGOT INTO AN ADULT FLY AND A CATERPILLAR INTO A BUTTERFLY AND, IN AMPHIBIANS, THE CHANGING OF A TADPOLE INTO A FROG. 4. PATHOLOGY A USUALLY DEGENERATIVE CHANGE IN THE STRUCTURE OF A PARTICULAR BODY TISSUE. [LATIN METAMORPHSIS, FROM GREEK, FROM METAMORPHOUN, TO TRANSFORM : META-, META- + MORPH, FORM.] METAMORPHOSIS : DEVELOPMENT OF A MONARCH BUTTERFLY THE AMERICAN HERITAGE® DICTIONARY OF THE ENGLISH LANGUAGE, FOURTH EDITION COPYRIGHT ©2000 BY HOUGHTON MIFFLIN COMPANY. UPDATED IN 2009. PUBLISHED BY HOUGHTON MIFFLIN COMPANY. ALL RIGHTS RESERVED. THESAURUS : LEGEND:   SYNONYMS RELATED WORDS ANTONYMS NOUN METAMORPHOSIS : THE MARKED AND RAPID TRANSFORMATION OF A LARVA INTO AN ADULT THAT

OCCURS IN SOME ANIMALS METABOLISM : HEMIMETABOLISM, HEMIMETABOLY, HEMIMETAMORPHOSIS : INCOMPLETE OR PARTIAL METAMORPHOSIS IN INSECTS. HETEROMETABOLISM, HETEROMETABOLY : DEVELOPMENT OF INSECTS WITH INCOMPLETE METAMORPHOSIS IN WHICH NO PUPAL STAGE PRECEDES MATURITY HOLOMETABOLISM, HOLOMETABOLY : COMPLETE METAMORPHOSIS IN INSECTS BIOLOGICAL PROCESS, ORGANIC PROCESS : A PROCESS OCCURRING IN LIVING ORGANISMS. METAMORPHOSIS : A STRIKING CHANGE IN APPEARANCE OR CHARACTER OR CIRCUMSTANCES; “THE METAMORPHOSIS OF THE OLD HOUSE INTO SOMETHING NEW AND EXCITING” TRANSFIGURATION : REVISION, ALTERATION - THE ACT OF REVISING OR ALTERING (INVOLVING RECONSIDERATION AND MODIFICATION); “IT WOULD REQUIRE A DRASTIC REVISION OF HIS OPINION” METAMORPHOSIS : A COMPLETE CHANGE OF PHYSICAL FORM OR SUBSTANCE ESPECIALLY AS BY MAGIC OR WITCHCRAFT TRANSLATION, TRANSFORMATION - THE ACT OF CHANGING IN FORM OR SHAPE OR APPEARANCE; “A PHOTOGRAPH IS A TRANSLATION OF A SCENE ONTO A TWO-DIMENSIONAL SURFACE”.


META MORPH OSE


FRAU PICHA ME & MY FAMOUS FRIENDS IN THE VIP AREA. SOMEBODY WITH JOY & RHYTHMS FOR ART & FRIEND PLACES (2010-...).

“Who’s that girl? She is the girl next door. She sings like a ragdoll in a golden shower. At parties, Frau Picha pinches you coarsely but says that’s not her. Endlessly she waves at you all night but ignores you the next morning at the supermarket, buying cigarettes for her deep throat. She puts darts in your pants so you look gorgeous, but not too much, not more than her anyway. At one uncalled remark, she adds you as another brick in her trophies’ wall. What else ? Let’s see. Oh yes, she pops, lolly, she pops, always. Sometimes a bit of a deadpan type, sometimes a bit of a slut, she sparkles anyhow. Do you see what I mean? Oh no, you can’t cos’ anyone who had looked at her broke as a quaint piece of wrecked glass. Remember her. Please do.” Milady Renoir, April 2010. “Dans son travail, Pascale crée et démultiplie des formes identitaires. Ses avatars sont générés par des mises en abîme ou en figures de styles ironiques de stéréotypes ou sujets de polémique (animal et gender studies, les avancées scientifiques, les modes); allant jusqu’à les démystifier eux-mêmes, voir les sacrifier. Frau Picha est un personnage physique et virtuel créé en janvier 2010. Empreinte de la culture Queer

/dans une perspective d’intégrité de la personne et de libre choix de vies et de mœurs pour chaque individu/ elle se présente provocatrice et sulfureuse, dans une allure ultra féminine, ultravestie. L’objectif généreux de cette performance s’appuie sur l’esprit de la fête. La starisation, le goût pour la personnification, le pop et le clinquant sont bien ses points d’ancrages esthétiques, auquel s’ajoute une franche autodérision du statut d’artiste de scènes. Le tout est enveloppé de l’adage: amusons nous, sérieusement ! Pour cela, Frau explore des outils numériques et/ou portatifs pour le mixage et la création sonore live: platine, soft, voix synthétiques et a capella.” Albert Rapace, Freelance Art Critic, 2010. More from Google Translate : In her work she creates and leverages identity forms. Her avatars are generated by simulations abyss or figures of ironic stereotypes styles or subjects of controversy (animal and gender studies, scientific advances, modes); up to demystify themselves, see the sacrifice. Frau Picha is a physical and virtual character created in January 2010. Imprint Culture Queer / perspective of personal integrity and freedom of choice of life and manners for each individual / she presents provocative and sexy, in an ultra feminine look, Ultravest. The objective of this generous performance based on the spirit of the festival. The star system, the taste for personification, pop and the foil are its aesthetic anchor points plus a candid self-mockery of the status of performing artists. The whole is wrapped in the saying: we have fun, seriously!. For this, Frau explores digital tools and / or portable mixing and live sound design: platinum, soft, synthetic voices and a cappella ...

http://myspace.com/pascalebarret/ http://artpotheek.com/ http://bit.ly/fraupicha


LE ZINNEKE EST MORT VIVE LE ZINNEKE! I KILL BELGIUM, BELGIUM KILLS ME. A PROJECT OF INFORM FICTIONS, A STORY IN PERSPECTIVE OF REAL, VIRTUAL AND NATURALIZED AVATARS (2008-2009).

An identical and bestial suicide realized for the exhibition “Is any cruelty good to talk about? “ To Centrale Electrique, European Centre for Contemporary Art in Brussels.

As Deleuze in his alphabet primer describes: how some animals have territories, contrary to some people who don’t! The question is, « Could the Internet social networks fill these lacks? » Scarlet Brapae was created on December 6th, 2008 on FaceBook / status: single 475 friends/130 groups and 19 Animal rights causes Scarlet Brapae denounced and created a FaceBook group of 1536 members « AGAINST the realization of a project in Belgium which uses the cruelty to dogs, «in the name of Contemporary Art. » The artist plans to stuff a stray dog from the streets of Brussels in hommage to the legend of the “Zinneke” ». “Finally, this cruelty will be made up from 50% of myself/ a Self-Hunted trophy. A bastard art piece for Brussels /an Urban Story .” Scarlet Brapae

With a hunting trophy self-portrait, a video (4min), advertisies FB, a petition and a Blog: http://vive-le-zinneke.blogspot.com/ The illusion of perpetuity, the preserved body. The Zinneke, a small stray dog,who was thrown in the river and left to die. Today, this urban legend is the emblem of a cosmopolitan and hyped up Brussels City. In reference to « I Like America and America Likes Me » (in May, 1974) of J. Beuys, « I bite America & America bites Me », (1995) of O. Kulik and finally of the famous debate around the project “Eres lo que lees”, (2007) of H. Guillermo Vargas, Pascale plays with rumour and self-mockery.

http://vive-le-zinneke.blogspot.com/ http://bit.ly/zinneke


HEROINE IT’S A MISTAKE, BUT DO MAKE IT STILL. PERFROMANCES FOR CLAUDE CAHUN (2006).

LA BELLE Au Minautaure

Le poète est un vaniteux, un impuissant ; et mon Maître un brutal, un maladroit – je suis bien malheureuse !… Mais, patience ! Un jour viendra… Je n’ai pas dit mon dernier mot !” Claude Cahun, Héroïnes (1925) “In Pascale Barret’s installations, the “image of the woman“ is never very far. The “woman in image“ is often the artist herself. It is not about “personae“, but about physical presence put in images. The body is shown as pure volume, as fragments, all linked, but independent from one another. The identity is scrutinized and interpreted in a ambivalent way.” Joan Vandenberghe, 2006.

« Tu m’as menti, la Bête, tu n’es pas un monstre. J’ai pris déjà tant de peine pour m’accoutumer à ta laideur que j’y ai consumé toute ma force aimante. Je suis trop lasse. Non, même en sens inverse, je ne referai pas le même chemin – fût-il celui du retour. Je ne renierai pas ma vie. J’ai toujours été franche avec toi, tandis que tu m’as trompée sur ta marchandise. Bref, je retire ma main. Les fées m’en sont témoins, ce n’est point à toi que j’ai fait ma promesse ! Promène hors de ma vue ces hanches parfaites – et qui me font horreur. Va vers d’autres cœurs te faire aimer à la fin pour toi-même. Quand on a goûté de la Bête – ah ! que l’homme est chère fade. Je me suis vouée à tes anneaux défunts à la glu du reptile. Mais avant que de partir – donne-moi, je te prie, l’adresse d’un autre monstre, d’un monstre authentique. » Jugements des trois héros , l’aventure une fois terminée : L’androgyne s’est offerte – et je l’ai refusée. Je suis le plus vertueux des hommes ! Le poète lui a fait la cour, mais l’Androgyne m’a préféré. Je suis le plus heureux des hommes !

http://bit.ly/heroineperformance


ANIMAL STUDIES DON’T SHOP, CHILDREN, SAVE YOUR SOULS. COLLECTION, RESEARCH (WORK IN PROGRESS).

“ou bien il arrive qu’un animal, muet, lève les yeux, nous traversant de son calme regard...” Elégies de Duino METAPHORE, an ironic tale “The Teddy bear was inspired by Theodore Roosevelt’s famous hunting trip to Mississippi in 1902. Legend has it that the great white hunter was not having much luck that November day; however, when presented with a bear cub on a leash that he could have easily shot at point-blank range, Roosevelt magnanimously spared the cub, thus preserving both the cub’s life and the ethic of hunting as sport. Thanks to Clifford K. Berryman’s famous cartoon in the Washington Post, the anecdote quickly spread around the country. The bear story created a huge wave of popular interest that the burgeoning toy industry of the late 19th century was quick to capitalize on. The first stuffed bear is reputed to have been made by Rose Michtom and diplayed in her husband’s New York shop window. It was an overnight success and Morris Michtom, a Russian immigrant, obtained permission from Roosevelt himself to call them “Teddy’s bears.” Michtom went on to establish the Ideal Novelty and Toy Company, a pioneer in the manufacture of teddy bears in North America. A transnational cultural phenomenon was born.” Putnam in “Stuffed Animals: Transcultural Objects in the Bedroom Jungle”

“Teddy Bear Patriarchy: Taxidermy in the Garden of Eden, New York City, 1908-1936” Donna Haraway Donna Haraway’s work has transformed the fields of cyberculture, feminist studies, and the history of science and technology. Her subjects range from animal dioramas in the American Museum of Natural History to research in transgenic mice, from gender in the laboratory to the nature of the cyborg. Her “Manifesto for Cyborgs,” in which she famously wrote that she “would rather be a cyborg than a goddess ”. Other selections are taken from her three major works, Primate Visions, Modest Witness, and Simians, Cyborgs and Women, as well as some of her more recent writing on animals. “Toute vie est une pensée, mais une pensée plus ou moins obscure, comme la vie elle-même” Plotin

http://reconstruction.eserver.org/033/putnam.htm http://bit.ly/liederohneworte http://bit.ly/animalstudies


PARADOXAL RAPID EYE MOVEMENT SLEEP, MEMORY RELATED THEORIES. INTERACTIVE VIDEO AND DANCE INSTALLATION, MODEL (2006).

Paradoxal is a sound, video and dance interactive performance for an immersive circular stage installation. Punctually, the dancer interacts with video images through programming. It brings the viewer into a dream. The same as in a dream, the concept of real time is modified randomly by one’s memory. The performer as well as the viewer is done in real time, while the basis of the sound and the visual creation build the memory. In this way the computing dispositive condenses and enlarges different information in order to produce a sequence that reminds us to the dream. The aim is to experiment, create a dream and sensations laboratory in space and time. “Immensity is the movement of a still man.” Bachelard

http://wikipedia.org/wiki/Rapid_eye_movement_sleep http://bit.ly/interactiveparadoxal


IN·CAR·NA·TION [IN-KAHR-NEY-SHUHN]

EQUIVALENT TO INCARN T ( US ) INCARNATE + -I N- -ION SHOW IPA

–NOUN 1. AN INCARNATE BEING OR FORM.

DICTIONARY.COM UNABRIDGED _BASED ON THE RANDOM HOUSE DICTIONARY, © RANDOM HOUSE, INC. 2011.

2. A LIVING BEING EMBODYING A DEITY OR SPIRIT. 3. ASSUMPTION OF HUMAN FORM OR NATURE.

MAIN ENTRY: OBJECTIFICATION MAIN ENTRY: MATERIALIZATION

4. THE INCARNATION, ( SOMETIMES LOWERCASE ) THEOLOGY . THE DOCTRINE THAT THE SECOND PERSON OF THE TRINITY ASSUMED HUMAN FORM IN THE PERSON OF JESUS CHRIST AND IS COMPLETELY BOTH GOD AND MAN. 5. A PERSON OR THING REGARDED AS EMBODYING OR EXHIBITING SOME QUALITY, IDEA, OR THE LIKE: THE LEADING DANCER IS THE INCARNATION OF GRACE. 6. THE ACT OF INCARNATING. 7. STATE OF BEING INCARNATED.

USE INCARNATION IN A SENTENCE SEE IMAGES OF INCARNATION SEARCH INCARNATION ON THE WEB

ORIGIN: 1250–1300; MIDDLE ENGLISH INCARNACION < LATE LATIN INCARN TI N-  (STEM OF INCARN TI )

PART OF SPEECH: NOUN DEFINITION: EMBODIMENT SYNONYMS: APOTHEOSIS, ARCHETYPE, CAST, COLLECTION, COMPREHENSION, CONFORMATION, EMBRACEMENT, ENCOMPASSMENT, EPITOME, EXAMPLE, EXEMPLAR, EXEMPLIFICATION, EXPRESSION, EXTERIORIZATION, EXTERNALIZATION, FORM, FORMATION, INCARNATION , INCLUSION, INCORPORATION, INTEGRATION, MANIFESTATION, MATTER, OBJECTIFICATION, ORGANIZATION, PERSONALIZATION, PERSONIFICATION, PROSOPOPOEIA, QUINTESSENCE, REALIZATION, REIFICATION, STRUCTURE, SUBSTANTIATION, SYMBOL, SYSTEMATIZATION, TYPE


IN CARN ATION


SYNAPSE FROM A PERFORMANCE VIDEO ARCHIVE, INSPIRED BY SCIENCE. INTERACTIVE & IMMERSIVE VIDEO INSTALLATION (2005-2008).

The synapsis is a neurological contact zone. This zone is represented by a projection screen that links or disconnect the spectator from the filmed action. His double presence and glance are commited to the very heart of the piece. The interactivity process allows the visitor and the environment to influence each others, and create a dynamic movement between the image and the reality. The visitor is invited to walk alone into a dark corridor. Then begins a new experience, that will be different every time.

visuals according to the actions of the spectator. In this self-portrait video, I locked in my naked and lonely body in an image that symbolises emptyness. As I Come out of darkness, many questions rise up : what does « being a woman » mean? The body as an artist? How can I establish communication, how can I make contact with the « others »? And make a concrete substitution created by a violent and repeated shock on the virtual wall that separates me from the visitor. I want the visitor to be confronted to my deformed body envelope, all wrapped in some adhesive tape. It is another body : man or woman ? Beast ? Chrysalid ? Then, it disappears. “A woman’s body appears tightly wrapped in transparant tape, naked metamorphoses… then strange. I see and also feel a beating of the being to the world, an existential relationship in the space. It is of the existence to be everything that it is a question. It is very beautiful. “ Jeff, visitor

Within the installation, I explore new fields of experimentations : the visitor’s spontanuaty, and the borders between communication, stream and control. In order to see the installation, the visitor has to walk into a dark corridor, and finds himself facing a strange depth. It is the beginning of a 8 to 10 minutes-long experience, that is different every time. The visitor’s movements in the 5 predefined zones of the tunnel are analyzed thanks to an infrared camera. In real time, the process is split onto two computers: one for the sound processing, while the other handles the visuals. The programmed scenario directs the audio-visual experience according to 8 unique behaviours. The sonic interactivity itself uses 8 sound sources to achieve immersion. Two computers are constantly communicating, allowing to synchronize or desynchronize the sound and

http://imal.org/synapse http://bit.ly/interactivesynapse


POUPÉE GIGOGNE THE EVENT IN THE EVENT IN THE EVENT... DUO PACK 100% SELF PRODUCTION. DUO PERFORMANCE FOR PUBLIC & ART VENUES (2006-2007).

Poupée Gigogne was born after Machin and Robinpink met. With a “Duo Pack”, they create a common world. Just like the imbrication process,the performance integrates itsself in public events. Poupée Gigogne is a plastic choreography, in which the performers interact with the concepts of Proportion and Space. This construction is linked to the spectators who create new perspectives as they walk around the performers. “Poupée gigogne” is defined as an evolutive and playful reflection about the event in which the performance takes place. The public is invited to participate in this movement procession, and then to attend a mechanical ballet. This wandering will be orchestrated and punctuated by participative actions proposed to the public. “Poupée Gigogne entra en action avec force et sans fracas. La performance de Poupée Gigogne s’interroge sur le commerce de l’Art contemporain et sur la valeur de l’artiste. Celui-ci ayant le choix entre se vendre lui-même ou brader son art.” Catherine De Mont Chassart, 2007

poupeegigogne.blogspot.com http://bit.ly/poupeegigogne


ABSENTE A SENSITIVE EXPERIENCE, AN INTIMATE DANCE.

The projection shows a blind and speechless androgynous woman whose body is in motion but in a restricted area. The image being constantly repeated, the story is renewed again and again. In the pool, a goldfish confronts the representation of the body in motion. The interaction of the three elements (the image, the goldfish and the soundtrack) create a distance with the situation.

VIDEO INSTALLATION, POETRY & ARTIST BOOK (2005-2006).

Un temps passé, l’eau, des rêves…et mes absence. Une mue de femme encrée, réalité d’ombres Un objet volant, contraignant le vide Sa lumière aux reflets fragiles Un corps projeté à l’eau, sans visage Et la pénombre du soir laissant place aux contrastes Si tu ne sais pas voir, écoute Solitude Seule, Seule, Seule, Vidée, Doute, Vide, Doute, Pour seul doute,

Doute, Vide je redoute mon vide vide et remplie de doutes doutant de ce vide seul un doute seulement tu seras vidée doute de tes solitudes tu te vide seul le vide

Inaptitude à établir des relations socio-affectives avec autrui. Incapacité à donner au langage valeur de communication. Des réponses anormales à l’environnement, le tout contrastant avec une apparence physique normale et des îlots de compétence/ Etats mentaux transparent. Autisme in vocabulaire de sciences cognitives. As the visitors come in, they discover a video projection shown on a « plexiglas » pool (160x120cm). They witness a post-chronological intimate life experience.

http://bit.ly/absente


JE EST UN DOUBLE DE HUMANI CORPORIS FABRICA (EUROPEAN RENAISSANCE OF THE 14TH-17TH). VIDEO TRIPTYCH INSTALLATION & DRAWINGS (2006).

I invited 9 artists to tell me their feelings about my own drawings, that are reproductions of famous paintings, and about their comprehension of the body in the restricted space of the bathtub. Every meeting ended up with a performance,that I shot on a video camera, and is now considered as a subjective and instant portrait. The vertical projection makes the bathtub appear as one of the panels of the triptych.

http://bit.ly/jeundouble


HÉROINE UNE FEMME EST EN MARCHE... COLOUR PHOTOGRAPH (2006).

Dalila, Judith, Sapho, Cinderella, Salomé, Eve... All of them are hieratic charachters that one has heard of in old tales, mythology, religion or History. For this creation, I asked 13 models, anonymous heroines, just like so many others, to lend me their flesh in order to embody these evanescent icons. About the portraits. What are these portraits? Various representations of a feminine ideal? Moments of stolen intimacies? From left to right: 1-Pénélope, The Indecisive Person 2-Hélène, The Rebel 3-Judith, The Sadist 4-Eve, The Naive Believer 5-The Unknown Princess 6-The Beauty 7-Marguerite, The Incestuous Sister 8-Sapho, The Misunderstood 9-Sophie, The Symbolist 10-Cendrillon, The Humble and Haughty Child 11-Salomé, The Sceptic 12-Dalila, The Woman among Women Silver print, framed, 100x150cm. Héroïne can be adapted in order to be exposed in urban areas.

http://bit.ly/heroinephoto


HÉROINE ... VERS LE CAMPS DES VAINQUEURS MONUMENTAL INTERACTIVE VIDEO INSTALLATION (2007).

Inspired by short stories of Claude Cahun, the Heroine project has been elaborated around the idea of “flying away”. It is a series of feminine portraits. These moments of elevation towards the outspace are the necessary artificial process of these pagan bodies, that will lead them to their sacred existence. First they fly away, but soon they shall fall down to the ground, for those singular and eternal women are part of a neverending cycle. Just like the neverending soundtrack. The visitor gives rhythm to the cycles by interacting with a bird in a cage. This bird is permanently watched by a webcam and his movements are sent and analysed in real time by a computer. The program then randomly composes the choreography of these “flying women”. The bright lines, appearing on the architecture, offer to the visitor a peculiar perspective on the surrounding environment of the chapel. The fleeting nature of light opposes to the “history” of the stone.

http://bit.ly/heroineinstallation


NO DEFINITIONS ARE AVAILABLE FOR DISINCARNATION.

DIS·INCARNATE ADJ \¦DIS+\ DEFINITION OF DISINCARNATE

VIEW ALL » EXAMPLES : FREE OF OR FREED FROM THE DEMANDS OF THE BODY : DISEMBODIED • “ PERHAPS WE SHALL FIND THAT THE DISINCARNATION OF THE WORD OF GOD IS THE REAL CAUSE OF ALL OUR MISFORTUNE.” — ARCHIVE 2007-08-01 • “ BECAUSE PHYSICAL OBSERVATION REVEALS ONLY THE BARK, THE OUTER CRUST OF THE COSMOS, MAN SEES NOTHING BUT THE SURFACE OF THE WORLD, AND REMAINS IN IGNORANCE OF THE HEART AND VITAL PLEXUS THAT GIVE IT LIFE; CONSEQUENTLY, HE CALLS THE DISINTEGRATION FOLLOWING UPON DISINCARNATION BY THE SENSELESS NAME OF “DEATH.”” — REINCARNATION A STUDY IN HUMAN EVOLUTION • “ AFTER DISINCARNATION, IT GENERALLY BECOMES HIGHLY CONSCIOUS IN ITS ASTRAL BODY, WHERE IT PASSES ITS PURGATORIAL LIFE; AND THIS LATTER ENDURES UNTIL THE SOUL LEAVES THE ASTRAL BODY.” — REINCARNATION A STUDY IN HUMAN EVOLUTION

WHAT MADE YOU WANT TO LOOK UP DISINCARNATION? PLEASE TELL US WHERE YOU READ OR HEARD IT (INCLUDING THE QUOTE, IF POSSIBLE).


DIS IN CARN ATION


TURBULENCE

H. Tennekes and J. L. Lumley, “A First Course in Turbulence”, The MIT Press, (1972).

ZONE DE TURBULENCES SITE-SPECIFIC INSTALLATION WOLUCULTURE “25+1”, BRUSSELS (2007).

The evolution of every phenomenon eventually reaches saturation and finally leads to inertia. A complete change can be provoked by the opportunate intervention of a new force or energy. This energy, made of concrete propositions such as a new language and new technical means, penetrates into the human “network” and quickly eliminates the“vestiges” of the previous phenomenon. 1. La rupture 2. Espace Temps 3. Les vestiges 4. Le complexe The heat flux and momentum transfer (represented by the shear stress τ) in the direction normal to the flow for a given time are \begin{align} & q=\underbrace{{{{{v}’}}_{y}}\ rho {{c}_{P}}{T}’}_{\text{experimental value}}={{k}_{\text{turb}}}\frac{\partial \overline{T}} {\partial y} \\ & \tau =\underbrace{-\rho \ overline{{{{{v}’}}_{y}}{{{{v}’}}_{x}}}}_{\ text{experimental value}}={{\mu }_{\text{turb}}}\ frac{\partial \overline{{{v}_{x}}}}{\partial y} \\ \ end{align} where cP is the heat capacity at constant pressure, ρ is the density of the fluid, μturb is the coefficient of turbulent viscosity and kturb is the turbulent thermal conductivity. http://bit.ly/turbulencezone


J.S. BACH F25.0F94.2 DISORDER MAKE OURSELVES SO DEPENDANT VIDEO AND WEBSITE (2008).

Edited like the screen of surveillance camera controlroom, this project confronts images downloaded on the website youtube, filmed by the artist in public spaces, and captured on the Internet game Second Life.

from us, dematerializes itself within spaces of commercial potential wether virtual or real. Addiction, for who, why do we make ourselves so dependant ? Is it to avoid a state of disorder becoming a weak link in our society ? perhaps sometimes to be a shadow projected on the floor or a flicker in the night. Website designed with Bart Vandeput,and hosted by iMAL.org The website was inspired by several propositions on the internet, such as statistics, testimonies, tests and medical prescriptions and sales. As many other medical institutions and research organizations that rely on financial systems, those websites are precious resources for the elaboration of DSM.

The video is fervently supported by Bach’s Partitas in the harpsichord. Video Youtube, in low quality, shows electric shock treatments, some experiences of physically violent acts. To capture on film people in public spaces, Pascale used a video camera hidden on herself. She also staged her Avatar Sleepwind Dix in the solitude of The SecondLife world. Published as a directory by the American Psychiatry Association, the DSM was progressively imposed upon the psychiatric community as a model to be used by professionals in order to identify a person’s psychic syndromes in the establishment of a diagnosis. This project is constituted by a video film and of a web site: www.imal.org/DSM/ Lost of identity, over identities, from classification to multiplication, everything seems to be out of reach

http://www.mcmanweb.com/spitzer_dsm.html http://en.wikipedia.org/wiki/DSM-IV_Codes http://www.dsm5.org/ http://bit.ly/streamingfestival http://www.em-arts.org/ http://bit.ly/jsbachdisorder


F 25.0 F94.2(313.89)


SANS TITRE POUR HEROINE ETERNALLYRENEWEDETERNALLYRENEWEDETERNALLY INSTALLATION, VIDEO / MODEL, MAISON D’ART ACTUEL DES CHARTREUX, BRUSSELS (2007).

Because of the excessive presence of the body material in « héroïne », I now experiment a structural approach of the volumes and an abstract approach of the body. The visitor stands in a dark room, a black box in which the notion of proportions has dissapeared. An architectural model, made of thin luminous strings, hangs at the very centre of the room, and is reflected by a mirror device (a set of mirrors). A film is projected through the model : here, the heroines become ghostly bodies. The sountrack is made of evoluating loops in order to reinforce a feeling of total immersion as well as the blurred perception of space and time.

http://bit.ly/sstitreheroine


LA PASSE THE TASTE OF BAY LEAVES AND HONEY ON OUR LIPS PHOTOGRAPHS, INSTALLATION & SOUNDS PERFORMANCE MOBILE INSTITUTE RESIDENCE (2007).

The art residence “Mobile Institute” is situated in a now defunct hotel of prostitution called “The Noailles”. Next door stands the hotel “Le Berger” of similar reputation. “Le Berger” remains in service. In hopes of avoiding the trap of prejudice, I wish to evoke the ephemeral, the passage and the ecstasy that are inscribed in the environment. By observing the spatial configuration of the rooms of this working hotel, I have created a model of the environment and have fashioned out of light emitting thread abstract forms of the furniture in one of the empty rooms of “The Noailles”. In the middle of the room, a floating body, represented by a 3D animation, is projected in the air. The soundtrack, recorded live during the opening of the exhibition, is in counterpoint to the abstract feeling that is part of the overall piece. Sound performed with Jean-François Fontaine.

http://mobileinstitute.org/residency-07 http://bit.ly/lapasse


DRAWINGS LEIBNIZ, WHITEHEAD, DELEUZE LINE, LAYER, INK, MARKER, COLLAGE, PRINTING, COMPRESSION, COPY, TRANSPARENCY, ETCHING, ASSEMBLY, IN PROGRESS.

haze, and cause the eye to focus primarily on objects drawn in the foreground. [[slnc 300]] some travels from visible to invisible, from ending to unending, from profane to holy, from natural to transcendental, from word to silence. [[slnc 400]] and have a beauty mess inside, [[slnc 250]] have a beauty mess inside, a beauty mess, [[rate -20]]

Perspective : Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. The parallel, straight edges of any object, whether a building or a table, will follow lines that eventually converge at infinity. Typically this point of convergence will be along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures will all typically converge at a vanishing point. Two-point perspective drawing. When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a “two-point perspective”. Converging the vertical lines to a point in the sky then produces a “three-point perspective”. Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart will appear slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the amount of contrast of more distant objects, and also by making the colors more pale. This will reproduce the effect of atmospheric

http://bit.ly/drawingsprint


AVATAR

1784, “DESCENT OF A HINDU DEITY,” FROM SKT. AVATARANA “DESCENT” (OF A DEITY TO THE EARTH IN INCARNATE FORM), FROM AVA-  “DOWN” + BASE OF TARATI  “(HE) CROSSES OVER.” IN COMPUTER USE, IT SEEMS TO TRACE TO THE NOVEL “SNOWCRASH” (1992) BY NEAL STEPHENSON.

ONLINE ETYMOLOGY DICTIONARY, © 2010 DOUGLAS HARPER

ORIGIN: 1775–85; < SANSKRIT AVATRA  A PASSING DOWN, EQUIVALENT TO AVA  DOWN + -TRA  A PASSING OVER

AU REVOIR, BLAZING STAR, BOLIVAR, BOLIVAR, BRITTLE STAR, BUMPER CAR, CABIN CAR, CABLE CAR, CAFÉ NOIR, CASTLEBAR, CINNABAR, COFFEE BAR, COLOR BAR, COMMAND CAR, COMMISSAR, COPLANAR, COTE D’IVOIRE, CULTIVAR, DEODAR, DINING CAR, DOUBLE BAR, DOUBLE STAR, ERROR BAR, ESCOLAR, ESCRITOIRE, EVENING STAR, EXEMPLAR, FALLING STAR, FEATHER STAR, FUNNY CAR, GIANT STAR, HANDLEBAR, INSOFAR, ISOBAR, ISSACHAR, JACAMAR, JAGUAR, JAUNTING CAR, KANDAHAR, KILOBAR, KRASNODAR, MASON JAR, MEGABAR, MEGASTAR, MILLIBAR, MINIBAR, MINICAR, MIRAMAR, MONTAGNARD, MORNING STAR, MOTORCAR, MUDEJAR, MUSCLE CAR, MYANMAR, NEUTRON STAR, OBJET D’ART, OPEN BAR, PARLOR CAR, PINOT NOIR, QIQIHAR, REGISTRAR, RENT-A-CAR, REPERTOIRE, RESERVOIR, RICERCAR, RISING STAR, SALAD BAR, SALAZAR, SAMOVAR, SCIMITAR, SEMINAR, SHOOTING STAR, SILVER STAR, SIMULAR, SLEEPING CAR, STEAK TARTARE, STEEL GUITAR, SUBAHDAR, SUPERSTAR, TIKI BAR, TORSION BAR, TOURING CAR, TUTELAR, TURBOCAR, VALDEMAR, VCR, VEADAR, WRECKING BAR, WUNDERBAR, X-RAY STAR, YOURCENAR, ZAMINDAR, ZANZIBAR

OTHER RELIGION (EASTERN AND OTHER) TERMS ZEN, ANTINOMIAN, GNOSTICISM, ILLUMINATI, INEFFABLE, KARMA, KOAN, MANTRA

RHYMES WITH AVATAR ABATTOIR, ACINAR, AIR GUITAR, ALIGARH, AIDE-MÉMOIRE, ARCTIC CHAR,

3) PAR CONTRESENS : MÉSAVENTURE, MALHEUR (BIEN QUE LE MOT AVATAR AIT EN LANGUE FRANBAISE UNE CONNOTATION PÉJORATIVE, ET QU’IL SOIT LE PLUS SOUVENT UTILISÉ DANS CE SENS, LA PLUPART DES FORMATEURS FRANCOPHONES ONT PRÉFÉRÉ GARDER LA TERMINOLOGIE INITIALE. LE MOT AVATAR N’A PAS DE CONTRESENS DANS LES AUTRES LANGUES.)


AVA TARS


CHANGE PROFILE PICTURE GIVE ME BACK MY DATA PROCESS ABOUT FINE ART PORTRAIT & LOW QUALITY DIGITAL IMAGE OR FROM LOW TO FINE.

...Studio >Paintings >Collection >Museum >Market >Conservation >Scan >Compression >Upload >google Image >Search >Biography >Projection >Phantasm >Love Correspondances >Download >Decompression >transformation >Print >Post >Copy >Paint >Meet >Frame >Digital origin >LCD >Studio >Exhibition >Sell >Collection >Museum >Conservation... From Anne to Henry # From George to Frederic # from Griet to Johannes # from Virginia to Orlando # from Marie to Alexandre # from Marthe to Alphrède # from Margaretha to Vadim # from Fay to King Kong # from Caroline to Aristide # from Greta to John # from Anaïs to Henry # from Emily to Keeper # … in progress Remove Post Pascale Barret Status / In mood sur-surealism /Oh, une Belgique... / not a material Girl /a digital Woman / MotionCapture session at LIMSI / Orsay :-D / is in The “Grande Galerie de l’Évolution” / liberté des contraintes

/ insouciance des gestes émus / relâchement /une chose arrive... / valeurs de pauvreté / humain-non-humain /subjectivité de nos passions / /pommes d’or /Origine: East of Eden / All which doesn’t need us / inconsciente collective / atteindre l’esprit immobile / de l’ordre de l’irrationnel / “aimons nous vivant!” / partita n°2 in C minor BWV 826 sinfonia / Nous vous invitons à vous rendre à l’aéroport comme prévu. Si votre vol était annulé, la compagnie aérienne vous reprotègerait sur un vol ultérieur. / en etat de prototypage / encadre cadre décadre /life’s frames / reserves the right /full discretion/ / tape ds mains et pousse d petits cris de bonheurs /eureka LCD/ la résignation de Freud... / Exsultate /jubilate /Nunc, et in hora mortis nostrae! / travaille au corps et ne désarme pas / 80days-renaissance [post-rock] vaporeuse melancholia n°3 / Prostaglandine E2 / met a singular person in the metropolitan Museum /life is a ceaseless wave / has not made you any different / muse / Crypto-eroto-botanise / yeux-charbonneux-taxi-sherbrooke-neige / ± { LAPSUS } / metamemory / mise à nu par ses célibataires, même / THAT CAN ENJOY INVISIBILITY / chain/ every shadows/ every blind ambitions / not waiting /not prepared /behind ready / Learn about your new connections... /packing /unpacking /mystery of travels / stayed the same for a short time / Light /a lesson from the dark / trahir la catégorie / a gazelle or a fawn on distant mountains / Grizzly Woman

http://bit.ly/changeprofilepicture


COMMON PLACES& CYBERNETIC OUR SOCIETY DESPERATELY NEEDS MONSTERS TO RECOVER A MORAL VIRGINITY VIDEOS.

Pascale realizes since 2008, a series of videos that « mise en abyme » the questions of commonplaces and cybernetics. Collecting diverse videos on the Internet, for their low quality and the popularization of their content ; she captures from her computer screen the videos of the online game Secondlife and the obsolete adventures of her avartar Sleepwind Dix and she uses extracts of movies or mangas ; and homemade DV films. The sources for her reflection, among others are the works of D. Haraway : A Cyborg Manifesto : Science, Technology, and Socialist-Feminism in the Late Twentieth Century. Primate Visions : Gender, Race, and Nature in the World of Modern Science.

http://bit.ly/commonplaces


ILLUSION DU SENSIBLE FACE TO FACE* *POISON AND REMEDY. INSTALLATION (2009).

“I anticipate this moment when I shall be at the edge of the flaw, on the border of a fall || Neither place Nor time will not be to define || The moment when a being created by my own fantasies, one of my avatars || sort of slave for myself ||will mutate in a singular entity = = = = = What will be our encounter? This truncated image of my nature || that I always hope to be complex || partially controlled and infinitely interpretable, will it turn and see me? ‘Or will it be against me? (Réf. SF)‘ Beyond my fleeting ______________ insignificant existence and finally || Among a mass with a Desire of domination.” “Un dehors plus lointain que tout monde extérieur, parce qu’il est un dedans plus profond que tout monde intérieur: c’est l’immanence.” Deleuze in “Qu’est ce que la philosophie?”

http://bit.ly/illusiondusensible


SLEEPWIND’S LEVITATION DO YOU REMEMBER YOUR MOTHER’S NAME? MACHINIMA & EDITING SCREENSHOTS [5MIN 47], (2009).

Magic of avatar, accident and bug, power and spiritual uplift ... an idea in suspension, a body without gravity. For levitation, the packaging of appearances and mind, Sleepwind Dix, Second Life’s avatar plays with his own defects and aberrations : _Low graphic definition, type, error loading and play with the camera tool _Social Situations, pathology of loneliness and wandering, the use of stereotypical scripts, and finally be re-play with cropping tools and video editing.

Remove Post Pascale Barret Status / “à l’homme il est permis d’être ce qu’il choisit d’être” ds Oraison sur la dignité humaine Giovanni Pico della Mirandola- Renaissance (encore) / forgives you! / en ligne de fuite / let me be misunderstood / Love me or kill me! / l’Excuse de ne rien prouver /nothing to prove / ROUGE RIVOLI number 21 / Et lassata viris nec dum satiata recessit... / Par-delà sa perte une présence| Present arrives| Nevermore past for my shadows / a la chair faible mon Seigneur <<(|)>> / “You are a member of too many Groups” / A new caliber? Rifle of the year? The ultimate weapon? Get your Barrett / conflicted copy / I’ve been here before, but when or how... / combler les aspirations, maintenir le vide / l’endroit où l’eau est la plus profonde qu’elle est le plus calme / Learn to finish /Apprendre à finir / Homme chaud(e) pour chambre froid(e) / Pulse Art Fair Friday /Miami Sunset / Berlin, Ich weiss, es wird einmal ein Wunder geschehn... / definitely love you more / “BOSSEUSE”JOUISSEUSE” / New york New York / sad to go back / projection de désirs |surfaces |expériences / Oh oui! Googlelisez moi! / soma sema

The illusion of a sensitive, SleepWind could “Being” or simply being “like a deep image in a mirror” ...

http://bit.ly/sleepwind


MIXED REALITY (MR)

TIVE EXPLORING THE INTERWEAVING OF PHYSICAL AND DIGITAL INTERACTION FOR EVERYDAY LIFE.

(ENCOMPASSING BOTH AUGMENTED REALITY AND AUGMENTED VIRTUALITY) REFERS TO THE MERGING OF REAL AND VIRTUAL WORLDS TO PRODUCE NEW ENVIRONMENTS AND VISUALISATIONS WHERE PHYSICAL AND DIGITAL OBJECTS CO-EXIST AND INTERACT IN REAL TIME. A MIX OF REALITY, AUGMENTED REALITY, AUGMENTED VIRTUALITY AND VIRTUAL REALITY.

ON WIKIPEDIA

THE MIXED REALITY LAB (MRL) AT THE UNIVERSITY OF NOTTINGHAM IS A DEDICATED STUDIO FACILITY WHERE COMPUTER SCIENTISTS, PSYCHOLOGISTS, SOCIOLOGISTS, ENGINEERS, ARCHITECTS AND ARTISTS COLLABORATE TO EXPLORE THE POTENTIAL OF UBIQUITOUS, MOBILE AND MIXED REALITY TECHNOLOGIES TO SHAPE EVERYDAY LIFE. THE MRL WAS FIRST ESTABLISHED IN 1999 WITH £1.2M FUNDING UNDER THE JREI PROGRAMME AND ITS FACILITIES WERE UPDATED IN 2005 THROUGH A FURTHER £1M UNDER SRIF 2. THE LABORATORY IS CURRENTLY HOME TO OVER FIFTY ACADEMICS, RESEARCH ASSOCIATES AND PHD STUDENTS WHO ARE UNDERTAKING A WIDE RANGING PROGRAMME OF RESEARCH INTO MIXED REALITY AND ITS APPLICATIONS. BETWEEN 2000 AND 2007, THE MRL WAS THE LEAD PARTNER IN EPSRC’S EQUATOR IRC, A £10M, EIGHT PARTNER, INITIA-

http://www.blasttheory.co.uk http://www.mixedrealities.com


MIXED REALI TIES


CABINET DE CURIOSITÉS MASCULINES

Stemming from Pascale’s virtual musings, the project consists of tangible framed pieces including text, drawing, engraving on stone, prints on porcelain and paper, LCD screens, digital photography, film, watercolor painting and sculpture combining human, animal, plant and technological components with mixed realities (daily, documentary and fictitious). The pieces signify the unlimited space and time of Pascale Barret’s collections...

AT FIRST THERE WAS CURIOSITY. THEN ADAM AND EVE WERE CHASED FROM THE GARDEN OF EDEN.

This blog sets the stage for Cabinet de curiosités masculines. http://bit.ly/pascaleblog » Dina Vescio, Studio XX Programming [Bilingual feminist artist-run-centre for technological exploration, creation and critique]

INTERNET COLLECTION, MIXED MEDIA AND REALITIES ART WORKS (2009-...).

Political point of view.

This new kind of curiosity room is the starting point of a project of research questionning identities and gender through the new technologies. Theories or commonplaces, the curious feels it’s able to seize, to surprise the process of creation. In the underlying, create pieces with traditional or high techniques, questions also the notions of art market and the definitions or standards of Contemporary Art in a Digital Age. «Pascale’s artistic practice focuses on the theme of gender representation within science-fiction and feminist digital networks – in relation to the writings of Donna Haraway – and examines concepts of identity, cloning and hyper-communication. She continues her exploration of avatars, audio, video, Internet and handheld technologies to create Cabinet de curiosités masculines, composed of a physical structure in the form of a miniature museum and a blog.

My objective is to staying in the middle of , on the frontiers, to free (my)self and be with the margin of the thoughts. However I’m on the way of post feminist, Queer philosophy, animal and gender studies. I engage myself in a personal point of view. I don’t militate in a political group, even if I’m a very active online person. My tools are physical and visual, digital and virtual, multi-language word play, and for sure self-derision… or just have a position vis-à-vis our world.

http://www.studioxx.org http://bit.ly/pascaleblog http://bit.ly/curiositesmasculines


MARC’S POINT OF VIEWS …WITH THE PETER’S VOICE. VIDEOS (2010-2011).

VIDEO > To come …« Neuf à la troisième place signifie: Pas de plaine qui ne soit suivie d’une côte, pas d’aller qui ne soit suivi d’un retour. Sans blâme est celui qui demeure constant dans le danger. Ne te désole pas d’une telle vérité; et jouis du bonheur que tu possèdes encore. » Internet VIDEO > Les barbelés …« Pour l’Attaque: l’attaquant a ses points d’attaque qui tapent sur les points de défense du défenseur. On compte les morts chez le défenseur. Pour la ContreAttaque: Le défenseur a ses points de défense qui tapent sur les points d’attaque de l’attaquant. On compte les morts chez l’attaquant. Et ainsi de suite pour tous les combats entre les différentes unités. » Internet VIDEO > A letter … « We need to engage the hunting and non-hunting public, the media, N G Os, conservation organizations, corporations and international organizations such as the United Nations. Our efforts continue to increase as an organization. S C I is dedicated to this mission and we will continue to engage the issues wherever, and whenever we can. Please be proud of

« Time is the substance I am made of. Time is a river which sweeps me along, but I am the riverit is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire. The world, unfortunately, is real; I, unfortunately, am Borges. » Internet VIDEO > Eurydice …  « Mais d’où vient qu’il persiste à garder le silence? Quels secrets veut-il me cacher? Au séjour de la mort devait-il m’arracher pour m’accabler de son indifférence? Oh destin rigoureux! Entends ma voix qui t’appelle… J’ai perdu mon Eurydice, Eurydice, Eurydice! Mortel silence!  Vaine espérance! » Internet VIDEO > An hormone … « Recently it has been found that a variety of exogenous modern chemical compounds have hormone-like effects on both humans and wildlife. Their interference with the synthesis, secretion, transport, binding, action, or elimination of natural hormones in the body are responsible of homeostasis, reproduction, development, and/or behavioural changes sameway as the endogenous produced hormones. » Internet VIDEO > The partisan …  « When they poured across the border I was cautioned to surrender, This I could not do , I took my gun and vanished. I have changed my name so often I’ve lost my wife and children But I have many friends And some of them are with me. » Internet ! [[rate +15]] [[slnc 250]] [[slnc 100]] [[rate -10]] [[slnc 200]] [[rate -10]] [[rate -15]] [[slnc 100]] [[rate +15]] [[slnc 250]]

who we are and what we do. Good Hunting. » Internet

VIDEO > I’m Borges…

http://bit.ly/pointofviews


TIME IS THE SUBSTANCE I AM MADE OF


BEAUTIFUL BEASTS J’AI PERDU LA BEAUTÉ QUI ME RENDIT SI VAINE. A GENERATIVE DIGITAL PERFORMANCE (2009-2011).

A trio performance for a sensor augmented Teddy Bear, A virtual character with emotional expressions and a woman. In an audio-visual environment, the audience will be invite to take part on this interactive and mixed realities tale.   In the Love Story of the Beauty and the Beast, I can imagine how the Beauty was disappointed when the Beast became Prince. She devoted so much time to love the animal. I suppose she asked for another Beast, so ugly, so special. Also, I create another protagonist, used by the Beauty to control the Beast who becomes a Beauty, maybe the Beauty turns into a Beast, and the Teddy transfers in a Prince?… This generative story will be randomly repeated or removed, for each performance. By manipulating Teddy, I will interact in a real time generative scenario on soundscapes and voice, a poetic chat Bot, the emotional expressions of MARC, his body IDLE, movements and camera’s parameters around him. Audience will be part of the drama by playing RFID cards. “As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet

to my taste.” Song of Songs [Bible] G/A/M/E x For a few years, questions of animality (animal studies) take place in my performances. The D. Haraway’s writings, a cyber-post-feminist sociologist, and more specifically her studies about the history of the Teddy Bear and the naturalization of animals: “Teddy Bear Patriarchy: Taxidermy in the Garden of Eden”, led me to a metaphoric interpretation of a lover drama between a virtual character and myself. The augmented Teddy Bear, equipped with sensors, will be the sensitive and portable interface with the 3D character, the sound environment, the audience and the textual content. That is too the paradox of this representation which I’m interested in, between a normative reference to childhood, the human cruelty and a certain reality of nature. With a poetic aim, inspired by the tale of the Beauty and the Beast and other secular and religious writings relating lover relationships, I suggest to rewrite a story (singular to each performance) in a context of mixed reality with the public. The numerical device allows me, apart from the portable interface of the Teddy Bear, to conceive a performance about a flexible time for the scenario, and to consider the Game / unfolding in a semi-random register. It will be essential to preserve endangered and immediacy inherent to the performance. As the device is compact and mobile, The installation can easily be adapted to any kind of place or architecture.

http://marc.limsi.fr/ http://laras.isib.be/ http://bit.ly/beautyBeasts


SUCCESSTODAYINBEAUTY .COM EAT YOUR MAKE-UP BABE! PERFORMANCE, WOLU-CULTURE (2008).

Culinary performance realized with Philippe Polomé, Chef Cook, for Bissectine. Between Cosmetofood and foodication, will the consuming or consumed body be just like a digital script, a copy formated by ourselves? With the particpation of Nathalie Fougeras, Rebecca Flores and aka Sleepwind Dix on SecondLife.

ephemeral and complex lives. (in reference to gender & animal studies). For example, the idea of using Avatars as a simulated medium is a demonstration of the Pascale Barret’s themes such as Fleshless Body and Digital Identities. Like 15th century aesthetic preoccupation, She focuses her work process of carnation, incarnation and disincarnation. However her tools are low and high technological, also it is often more mistakes and defects in a perfect world. Pascale finds poetic and ludic lines for [her]self and ourselves, to create virtual, artificial and live representations. It evolves throughout human nature, common places and déjà vu experiences in “Life during wartime”. » Albert Rapace, 2010, Freelance Art Critic.

LIFE DURING WARTIME « Because of this evolution of our ever-changing technical world, we are being thrust into a new realm of creative emancipation. However, this mass expansion has thrown our integrity into question and is creating a conflict of identity. Today’s rapid globalization has prompted artists to work in terms of metamorphosis and utopias. Because the human form and technology seem contradictory, the physical body tries to position itself in relation to it. Our own body image clashes and even substitutes itself for representations. Our fascination with new technology constantly tempts us to cross the line from the physical world into other landscapes, this is because the body and mind crave desire. We can be more than a man, woman, or animal, in our

http://bit.ly/sucessinbeauty


A NO LAST GOODBYE


“THIS IS OUR LAST GOODBYEI

DID YOU SAY ‘NO, THIS CAN’T

HATE TO FEEL THE LOVE BE-

HAPPEN TO ME,

TWEEN US DIE BUT IT’S OVER

AND DID YOU RUSH TO THE

JUST HEAR THIS AND THEN

PHONE TO CALL

I’LL GO YOU GAVE ME MORE

WAS THERE A VOICE UNKIND

TO LIVE FOR

IN THE BACK OF YOUR MIND

MORE THAN YOU’LL EVER

SAYING MAYBE YOU DIDN’T

KNOW

KNOW HIM AT ALL

THIS IS OUR LAST EMBRACE

YOU DIDN’T KNOW HIM AT

MUST I DREAM AND ALWAYS

ALL, OH, YOU DIDN’T KNOW

SEE YOUR FACE WHY CAN’T

YOU DIDN’T KNOW

WE OVERCOME THIS WALL

WELL, THE BELLS OUT IN THE

WELL, MAYBE IT’S JUST BE-

CHURCH TOWER CHIME,

CAUSE

BURNING CLUES INTO THIS

I DIDN’T KNOW YOU AT ALL

HEART OF MINE

KISS ME, PLEASE KISS ME BUT KISS ME OUT OF DESIRE,

THINKING SO HARD ON HER

BABE, AND NOT CONSOLATION,

SOFT EYES AND THE MEMO-

YOU KNOW IT MAKES ME SO

RIES OFFER SIGNS THAT IT’S

ANGRY ‘CAUSE I KNOW THAT

OVER! IT’S OVER, IT’S OVER.

IN TIME I’LL ONLY MAKE YOU CRY, THIS IS OUR LAST GOODBYE

(JEFF BUCKLEY)


YOU CAN CONTACT PASCALE BARRET. Mail her at contact@pascalebarret.com Skype her at pascalebarret URL her at www.pascalebarret.com Poke her at http://on.fb.me/avatarsFBpage C. her at http://be.linkedin.com/in/pascalebarret Google her at google.com

C H


PASCALE BARRET WOULD LIKE TO DIRE MERCI. Paul Marique, Elisa Ganivet, Professeur Christian Jacquemin (LIMSI-CNRS), Pierre-Yves Desaive, Milady Renoir, Michèle Rossignol, Richard Neyroud, Stéphanie Pécourt (WBtd), Yves Bernard (iMAL), Dina Vescio (Studio XX), Albert Rapace, Samantha Wiggins, Sonia Lefeuvre, Johan Legraie, Daniel Canty, Joan Vandenberghe, Catherine De Mont Chassart, Claude Celli (EspaceEstampe Resars).

COURGEON (MARC/ L MSI-CNRS) NOÉM E NICOLAS (TRAILER) LUCILLE CALMEL (DRAMATURGY) MAL (CO-PRODUCTION) FRENCH BELGIUM COMMUNITY (SUPPORT) SEE ONLINE FOR FURTHER PARTNERS & CREDITS. SUCCESSTODAY NBEAUTY.COM PAGE 108111 MARIE CELETTE (PHOTO) SLEEPWIND DIX (SL AVATAR) NATHAL E FOUGERAS (PERFORMER) REBECCA FLORES (PERFORMER), WITCHES ARISE SCREEN TITLE FONT BY PLEASE LET ME DESIGN.

cop·y·right [kop-ee-rahyt] The exclusive right to make copies, license, and otherwise exploit a literary, musical, or artistic work, whether printed, audio, video, etc.: works granted such right by law on or after January 1, 1978, are protected for the lifetime of the author or creator and for a period of 50 years after his or her death. cop·y·left The right to freely use, modify, copy, and share software, works of art, etc., on the condition that these rights be granted to all subsequent users or owners. This edition is supported by BWTD, Bruxelles Wallonie Théâtre Danse.

All my anonymous and precious Friends : Samuel, Tristan, Caroline, Hélène, Isabelle, Nicolas, Marie, Jean-Claude, Corinne, Nathalie, Sam, Elisabeth, Serge, Antoine, Jean-Christian, Marta, Lucille, Vincent, Karine CREDITS : FRAU PICHA PAGE 13 JOHAN LEGRAIE (PHOTO). PAGE 14 WEBCAM SESSION WITH MICHÈLE ROSSIGNOL PAGE 15 MICHEL REUSS (PHOTO). ZINNEKE PAGE 17 PIERRE-YVES RENKIN (TAXIDERMY). HERO NE PAGE 21-23 JOHAN LEGRA E (PHOTO) ORIGAN CANELLA (INTERACTIVE SOUND). PARADOXAL PAGE 28-31 JOHAN LEGRA E (VIDEO) JORGE M. CRECIS (CHOREGRAPHY) RAOUL RODRIGUEZ (SOUND CREATION) BART VANDEPUT (IT PROGRAMMING) EMMANUEL MANZANO (V DEO EDIT NG) GUNTHER CAMP NE (PHOTO) SUPPORT : IMAL & DANSE BALSA FESTIVAL. SYNAPSE PAGE 36-39 JOHAN LEGRA E (VIDEO) RAOUL RODRIGUEZ (SOUNDTRACK) YACINE SEBTI (IT PROGRAMM NG) FRENCH BELGIUM COMMUNITY (DIGITAL ART) & THÉATRE DE L’L (SUPPORT) IMAL (COPRODUCTION). POUPEE GIGOGNE PAGE 41 GUNTHER CAMPINE (PHOTO). ABSENTE PAGE 42-43 ARNO RIEDINGER (SOUNDTRACK) ODILE DESAMORY (MAKE UP) SONIA FORSTER (MODEL). JE EST UN DOUBLE PAGE 44-47 JOHAN LEGRAIE (VIDEO) LINDA BBARI (EDITING). HERO NE PAGE 48-51 JOHAN LEGRA E (PHOTOS CO-AUTOR). PAGE 52-55 JOHAN LEGRA E (VIDEO) JOACH M THÔME (VIDEO EDITING) BART VANDEPUT (IT PROGRAMM NG) AK RA RABELAIS (SOUNDTRACK) IMAL (SUPPORT). CHANGE PROF LE PICTURE PAGE 85 ISABELLE RAPP-TETARD (PAINT NG). CABINET CURIOSITES MASCULINES PAGE 99-101 STUDIO XX (RES DENCY) SAMUEL SAINTAUB N (IT SUPPORT). MARC’S POINT OF VIEW PAGE 103 MATTHIEU COURGEON (MARC’S DEVELOPER). BEAUTIFUL BEASTS PAGE 104107 RUDI GIOT (SOUND, DEVELOPER AND ELECTRONIC) MATTH EU

C RE


WEBOGRAPHY BLOG http://bit.ly/pascaleblog http://soundcloud.com/pascale-2 http://1visite.blogspot.com/ (quĂŠbec residencies)

LINKS http://bit.ly/mywebography http://bit.ly/imalprofile http://www.mutin.org/BI/ http://www.digitalarti.com/ http://rhizome.org/profiles/pascalebarret/ http://www.labforculture.org/ http://www.rhiz.eu/person-14918-en.html http://www.terminartors.com/ http://www.articite.com/ http://www.saatchionline.com/pascaleb http://artsciencefactory.fr/

NETWORKS http://bit.ly/pascalenetwork http://www.imal.org/ http://www.studioxx.org/ http://digitalperformanceculture.blog.fr/ http://www.transcultures.be/ http://www.digital-arts-numeriques-diary.be/ http://www.perte-de-signal.org/ http://www.x-reseau.fr/ http://1904.cc/aether/ http://public.csusm.edu/fossilmedia/ http://www.myrtilles.org/ http://www.bram.org/ http://myownspace.fr/scenophonie http://concrete.mezklador.com/ http://miladyrenoir.skynetblogs.be/ http://www.wj-s.org/ http://www.elisaganivet.com/ http://www.isabellearvers.com/ http://www.goodfriday.be/ http://www.mx7gallery.com/ http://www.synesthesie.com/ http://www.poptronics.fr/ http://www.we-make-money-not-art.com/ http://www.coalitioncyborg.org/ http://www.bodyspacesociety.eu/ http://www.ktpress.co.uk/ http://www.olats.org/ http://www.omnsh.org/

GRAPHISM http://paulmarique.be

( FATAL ERROR: UNCAUGHT EXCEPTION )

DI TS


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