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Thesis Info
- LABS ID
- 00106
- Thesis Title
- OPERATING IN MEDIA REALITY - FOR A CRITICAL PRACTICE IN INTERACTIVE IMAGES
- Author
- Samuel Bianchini
- E-mail
- contact AT dispotheque.org
- 2nd Author
- 3rd Author
- Degree
- Ph.D.
- Year
- 2004
- Number of Pages
- 315
- University
- Université Paris 1 - Panthéon-Sorbonne
- Thesis Supervisor
- Anne-Marie Duguet
- Supervisor e-mail
- Other Supervisor(s)
- Language(s) of Thesis
- French
- Department / Discipline
- Arts and Art Sciences
- Copyright Ownership
- Samuel Bianchini
- Languages Familiar to Author
- French, English
- URL where full thesis can be found
- Keywords
- Art, cooperation, image, installation, interactivity, media, operation, reality, representation, network.
- Abstract: 200-500 words
- How do individual and collective interactive imaging practices entail new methods of representation, production, and use, and does it change our relationship to a reality that is increasingly mediated by technology? With interactivity, we become the "users" of media, in particular of images. Activating the image and becoming active in front of the image: representation no longer occurs just on the screen, but rather it is also played out before it and beyond, in relation to the images and in the relationships that they mediate. Coupling operation with representation and physical reality with symbolic reality, at the confluence of devices and uses, interactive images, whether local or in a network, are caught up in an array of activities and operations of different nature: human, both individual and collective; and technological, software and hardware. As representation, the image is a tenant-lieu [it takes the place of something]; when interactive, it is also a donnant-lieu [it makes something take place]. Modes of operation and representation engage a work shared between the initial author and the spectator, between "formalizing" and "performing," between the "information-image" and the "experience-image." On the basis of our artistic research and those of other artists, two forms of practice are analyzed with a view to better understand and situate them, to generate new ones, and to learn to lay down conditions that are propitious to a critical practice in interactive images. Far from simplistic communicational or cybernetic models and reassessing the status of the recorded sequence of images, the interactive image†as a plan of action, of representation, and of reflection†can entail exercising consciousness in accordance with a time and representation depth, a "bathmology." A node of varying activities, this image configures an environment and stages power struggles, affective and effective participation, and tactics and strategy. In sum, it forms a theater of operations, which, once situated, localized, interconnected, shared, distributed, and disseminated, defines a mediated reality to be grasped and invested.