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digitalarti #2 

April-May-June 2010 - 6 € / 8 $ US 

The International Digital Art Magazine 

Artists-Festivals-Innovation and more 

www.digitalarti.com 

#2 

EDUARDO KAC 

biological art 

DECODE 

FEEDFORWARD 

GREGORY CHATONSKY 

INVESTMENT FUND 

MEDIARCHITECTURE 

[THE USER] 

BODY>DATA>SPACE 

JACQUES PERCONTE 

DIGITAL ART & CONSERVATION 

OLGA KISSELEVA

LIVE A/V: THE SPECIAL ISSUE PUBLISHED BY MCD, 

DEDICATED TO AUDIOVISUAL PARFORMANCES. 

LIVE CINEMA, NEW TRENDS IN VJING AND VISUAL ARTS, DIVERSITY OF ARTISTIC 

PRACTICES MIXING SOUNDS AND IMAGES IN REAL TIME, FESTIVALS… 

COVER VISUAL : ALVA NOTO . XERROX BY CARSTEN NICOLAI 

140 pages 

bilingual 

english/french 

10 € 

Available on www.digitalmcd.com, Print and digital format (pdf) 

With 52 Portraits of Artists from the A/V Scene: 

Abstract Birds, Addictive TV, AntiVJ, Cécile Babiole, Matthew Biederman, Frank Bretschneider, Byetone, 

Cellule d'Intervention Metamkine, chdh, Defasten, Demolecurisation, Evelina Domnitch & Dimitry Gefland, 

Louis Dufort, D-Fuse, Exyst, Gangpol & Mit, HC Gilje, Kurt Hentschläger, Ryoji Ikeda, incite/, JoDi, 

Yuki Kawamura, Herman Kolgen, Ryoichi Kurokawa, LAb[au], Ulf Langheinrich, lsd room, Mikomikona, 

Joachim Montessuis, Mylicon/EN, Carsten Nicolai, Otolab, Julien Ottavi aka The Noiser, Jean Piché, 

PurForm, Quayola, Tasman Richardson, RKO, RYbN, Chris Salter, SATI, Antoine Schmitt, Synchronator, 

Telcosystems, TeZ, The Light Surgeons / Christopher Thomas Allen, Transforma, TvEstroy, UVA United 

Visual Artists, Edwin Van Der Heide, XLR project, Yro

APRIL/MAY/JUNE 2010 

CONTENTS 

03 EDITO 

Digital art and innovation 

04 COMMUNITY NEWS 

News from Digitalarti.com 

06 GRÉGORY CHATONSKY 

Artist in the flow 

08 INVESTMENT FUND 

Digital Art Promotion 

10 KEY QUESTIONS 

Digital art and conservation: 

the role of the art market 

12 DECODE 

Decoding the digital 

14 FEEDFORWARD 

Centre for Art and Industrial Creation 

in Gijon 

16 EDUARDO KAC 

Biological art 

20 MEDIARCHITECTURE 

Innovation with Muuuz.com 

22 [THE USER] 

Architecture, music and diversion 

24 BODY>DATA>SPACE 

Robots and avatars: our colleagues 

and playmates of the future 

26 JACQUES PERCONTE 

The digital image, and the sublime 

28 OLGA KISSELEVA 

WJ-SPOTS#1 in Paris 

30-33 AGENDA 

Exhibitions and festivals 

#2 

EDITORIAL 

EDUARDO KAC, Cypher 

© photo R.R. 

DIGITAL ART AND INNOVATION 

Spring is the beginning of the digital arts festival season. A lot of events 

worldwide will focus on digital art, beginning with Elektra, in Montreal, 

where Digitalarti will already be celebrating its one-year anniversary. 

Digitalarti has become a major international media dedicated to digital 

art, and many innovations are on the way: 

> A new version of the site: after almost a year in beta, the site will officially 

launch as version 1.0 in April. Easier to use and to browse, it will contain 

many new features, including groups like the Live A/V (Live Audio/Video) 

community. 

> iPhone and Android apps: Digitalarti is also bringing digital art content 

and experience to mobile tools in April. Test our new Digitalarti apps – 

they’re free. Just search digitalarti on your app store. Soon our Android 

and Blackberry apps will be available as well. 

> New online multimedia magazine: The Digitalarti Mag available in print 

and pdf is now a full-blown multimedia experience including video. 

< http://www.digitalartimag.com > In this issue, you’ll discover artists such as 

Gregory Chatonsky, Olga Kisseleva, The User, Jacques Perconte, 

collectives like Body Data Space, reports of major exhibitions in Spain 

and England, and a new feature about architecture and design with our 

partner Muuuz.com. 

Rendez-vous in France, from June 12th to 19th , at Les Bains Numériques, 

in Enghien-les-Bains, where Digitalarti is invited to present the first 

acquisitions of the Digital Art Promotion investment fund, including Keyword 

by Reynald Drouhin, Still Living by Antoine Schmitt, I just don’t 

know what to do with myself by Grégory Chatonsky, and Blue/Move36 by 

Eduardo Kac, our artist of the month. 

We hope you enjoy this second issue. We look forward to your help and 

feedback in enhancing our upcoming magazines. Please send us your 

comments, questions and suggestions at: < info@digitalarti.com > or post them 

directly on the site at: < www.digitalarti.com/blog/digitalarti_mag > 

ANNE-CÉCILE WORMS 

digitalarti #2 - 03

DIGITALARTI COMMUNITY NEWS 

NEWS FROM DIGITALARTI.COM 

here you'll find a selection of articles published by the members of digitalarti.com, 

the international digital arts community. Read more online. 

Focus 

FESTIVAL ELEKTRA 

Alain Thibault, founder and 

director of Elektra, is answering a few 

questions about Elektra festival in 

Montreal. Beginning of may 2010, it will 

be the 11 th edition of the festival. 

< www.digitalarti.com/m2_1 > 

04 - digitalarti #2 

Could you tell us how this Elektra festival 

was conceived and what is the concept of 

the programmation? 

Elektra is a festival produced by ACREQ, 

Association pour la création et la 

recherche électroacoustique du Québec, 

founded in 1978. I became the artistic 

director in 1993. 

As a composer of electronic music I was 

always interested in collaborating with 

visual artists. So, slowly ACREQ took the 

"multi-media" turn. 

After having presented Granular Synthesis 

Boreales, Jean Piché, 2009 

Motion Control Modell 5 in 1997 and a 

weekend of experimental video-music (in 

Usine C) + Pan Sonic, etc. I decided that 

we should create a festival called Elektra 

to aquire better visibility in the media and 

with the public. 

And it worked. 

So, experimental electronic music remains 

the main axis in the choice of pieces for 

the program, but also anything visuals 

(computer animation, robotics, etc.) 

So we have an important Performances 

section in the program. 

We added the installations component: 

interactive, audio, etc. 

+ lectures, conferences 

+ the International Marketplace for Digital 

Arts 

We don't have a theme for the festival. 

We are interesting in showing what's new. 

We are very interested to show immersive 

works. 

The public has to feel the experience. 

What is your best memory? 

The first time I attend Feed by Kurt Hentschläger, 

my reaction was: ok, this is what 

happens when you die. The good thing is, 

I know that I will still be alive at the end. 

And the worst? 

When one of my friends had to go to the 

hospital during Feed. I was really worried 

about him. 

What is the specificity of the upcoming 

2010 edition? 

Moving to the idea of Visualisation of 

music and sound. In fact it will be an 

important component for the 2011 

edition. 

How do you see the future of the festival? 

We are presently working on creating an 

International Biennale of Digital Arts in 

Montreal, during May. A real Biennale 

focusing exclusively on digital arts, with a 

very big installation component. 

PHOTO © CONCEPTION LEVY & CAMIL SCORTEANU

PHOTOS © PETER DIMAKOS, ISABELLE DUBÉ, CONCEPTION LEVY & CAMIL SCORTEANU, R.R. 

Faust, Purform - Usine C 

Fluux terminal, Skoltz_Kolgen - Usine C, 2006 

News + 

Chelsea ArtMuseum 

The Chelsea ArtMuseum, Home of the Miotte Foundation present Jenny Marketou: Lighter 

Than Fiction. Jenny Marketou’s video installation poses the question, juxtaposing dreamlike 

perspectives with disturbing realities. Marketou investigates the precarious balance between 

reality and fiction capturing the view from above where the lightness of utopian sensations and 

imagery are contrasted by dystopian realities. < www.digitalarti.com/m2_2 > 

Future everything 

Art in the age of pervasive data is a call for papers and artworks for a new issue of the Leonardo 

Electronic Almanac edited by FutureEverything. This issue of LEA investigate cross disciplinary 

thinking on art in the age of pervasive data. LEA is soliciting texts and artwork by artists, 

researchers, and scholars involved in the exploration of themes including: the networked city, 

data visualisation, open data, hyperlocal data and the interpretation of proximity, community 

use and generation of data, all novel means of navigating the data terrain. 

The Leonardo Electronic Almanac (LEA) will produce an online and print on demand paper 

and gallery issue edited by FutureEverthing, as well as host curated images and videos online. 

Deadline: Abstracts due 1 June 2010 


Artistic Textual and Performative Paths in New Media Correlations: 

Evelin Stermitz' interview with net artist Annie Abrahams, whose "works are structured on both 

digitized hyper and on site realities. She constructs forms of collective writings on the net and 

reconstructs them into offline perceptions, which leads to creations of net-operas and other web 

based interventions." 

Fylkingen's journal Hz started as a non-virtual journal after its predecessor Fylkingen Bulletin from 

the 60s. Since 2000, Hz has moved to the Internet and has become an Internet journal, one of the 

few in Sweden. Since the second issue in 2003 it has also includes Net Gallery, where international 

Internet art works are presented. 


01SJ 2010 Biennial 

Mark your calendars for the 2010 01SJ Biennial, 

September 16-19, 2010 whose theme is Build Your Own World. 

This idea encapsulates the Build Your Own World theme where the future is not about what’s 

next; it’s about what we can build to ensure that what’s next matters. The 2010 01SJ Biennial is 

predicated on the notion that as artists, designers, engineers, architects, marketers, corporations 

and citizens we have the tools to (re)build the world, conceptually and actually, virtually and 

physically, more poorly and better, aesthetically and pragmatically, in both large and small ways. 

Schwelle II, Chris Salter & Michael 

Schumacher, 2007 

Maxima, Keiichiro Shibuya & Exonemo 

Atak - Usine C, 2008 

Under the theme "Build Your Own World", the 3 rd 01SJ Biennial will present a broad range of 

exemplary work, which not only imagines the future (world) but builds it. 

The 3 rd 01SJ Biennial will take place September 16-19, 2010, throughout San Jose (USA). 

It is about how powerful ideas and innovative individuals from around the world can make 

a difference and come together to build a unique, city-wide platform for creative solutions 

and public engagement. It is about the inspiration needed to build a world we want to live in 

and are able to live with. 


Le Laboratoire 

Animist, vitalist and machinist, the architecture of "humeurs" rearticulates the need to confront the 

unknown in a contradictory manner by means of computational and mathematical assessments. 

The architecture of "humeurs" is also a tool that will give rise to "Multitudes" and their palpitation 

and heterogeneity, the premises of a relational organization protocol. 

This research is being carried out with François Jouve, the mathematician in charge of working 

out dynamic structural strategies; Marc Fornes with Winston Hampel and Natanael Elfassy in 

charge of computational development; the architect and robotics designer Stephan Henrich; and 

Gaetan Robillard and Frédéric Mauclere for the physiological data collection station, following 

a scenario by Berdaguer and Péjus. It also uses Marc Kendall’s process of data collection using 

"microneedles". 

Le Laboratoire and Caroline Naphegyi (artistic director), have been following this research for two 

years and give the unique possibility of watching it exhibited at its current stage of development. 

An architecture of humors from January 22 nd to April 26 th at Le Laboratoire (Paris) 


Transcultures 

Transcultures is the Centre for electronic cultures, digital & sound art based in Mons 

(Belgium) which has initiated lots of events, exhibitions, publications, debates, artist residencies 

and festivals (City Sonics, a sound art festival every Summer since 2003 www.citysonics.be 

and Les Transnumériques, nomadic festival for electronic cultures and digital arts every 

2 years since 2005 in Mons, Brussels, Liège, Paris, Lille..) and connected to several European 

and international projects such as RAN (digital arts network), E-FEST (initiated by Echos 

elektrik for the digital arts in Tunis), TRANSAT Contamine (artistic exchanges with SAT, 

Montreal), Pépinières d'artistes européens, Park in progress (with Pépinières d'artistes 

européens, Saint-Cloud and other parners), ADAPT (initiated by CIANT, Prague)... about 

promoting and developping new forms of interdisciplinary creation and creative indisciplines 

which are always in motion!! Artistic Textual and Performative Paths in New Media 

Correlations: An Interview with Annie Abrahams 



DIGITALARTI FOCUS ARTIST 

GRÉGORY CHATONSKY 

ARTIST IN THE FLOW 

Born in Paris, Grégory Chatonsky holds a master’s degree in philosophy from the Sorbonne and a multimedia 

advanced degree from the Ecole Nationale Superieure des Beaux-Arts in Paris. He has worked on numerous 

solo and group projects in France, Canada, the United States, Italy, Australia, Germany, Finland and Spain . 

His works have been acquired by public collectors such as the Maison Europeenne de la Photographie. 

Your background? 

Art was a part of my universe from very 

early on. There are often children who sit 

in the back of the classroom and draw, only 

half listening to what the teacher is saying. 

When my parents understood that I was 

one of them, they pushed me further in 

that direction: they bought me art catalogues 

for Christmas (I dove into Spies’ 

Max Ernst), took me to the Louvre every 

week (transfixed by the crouching scribe) 

and enrolled me in art classes. At 15 or 16 

I felt I’d reached the end of an era, that I’d 

run through the classic images. So I left off 

wanting to paint. It was a naïve and romantic 

good bye, of course, but, although I was 

hardly a geek, it led me to computers early 

on. At first, my attraction to computers was 

artistic; since they were new, I would 

doubtless rediscover that "first time", that 

innocence, that childhood. I was a believer. 

I studied philosophy, because, as an artist, 

I wanted to be prepared to take on the 

enemy. And, as it so often happens, I fell 

Capture logo 

hopelessly in love with the enemy. It was an 

intellectually rich, intense time, where the 

world opened up, where culture became 

completely possible, and where each 

reference connected with another reference, 

to create a meaningful universe. I became 

interested in virtual reality, in phenomenology, 

in Derrida and Lyotard, Heidegger 

and Stiegler. They have accompanied my 

travels to this day. Then, in 1993, I worked 

on the Pompidou Center review Traverses, 

with Norbert Hillaire. That's where, in 1994, 

I discovered the internet, and, together 

with a few friends, I founded Incident. 

Then I designed the CD-Rom "Memories 

of the deportation", which won the Mobius 

prize in 1998. Then the exhibits just kept 

coming. 

How your work is changing today? 

I'm known as an intellectual artist, but 

I confess that I have some difficulty 

conceptualizing my work. I progress 

rather heuristically, step by step, experiment 

by experiment. There’s the idea, there’s the 

shape, and there’s what’s between them. 

If I were entirely sincere with you, I’d say 

that I’m waiting to see my work, that I’ve 

been waiting to see it for years, in fact. 

I haven’t yet begun. But since I’m not being 

sincere, I’ll tell you that I’ve been working 

for a long time on flows, whether technological, 

aesthetic, organic or political. 

These are unbroken forms that exceed our 

perception. I’ve always wanted to create 

work that went beyond our ability to perceive 

it completely. Something is flowing. 

What's struck me these past few years, is 

the inextricable nature of digital and 

analog technology. I’m producing photographs, 

engravings, sculptures, books, 

even a computer. It isn’t one medium 

versus the others. It’s lost its uniqueness, 

except in low tech 8bit caricatures. 

It's everywhere. That’s why I’d have a hard 

time seeing myself as a digital artist. 

It's an idea that I've never liked. I work 

with the tools of my time. 

The work presented at the Exit Festival 

in Paris? 

Charles Carcopino chose two installations 

about dance. Dance with U.S. (2008) 

receives NASDAQ stock valuations in real 

time, and injects them into a Shall we Dance 

sequence, where Fred Astaire is dancing 

with a steam engine. The more prices fluctuate, 

the faster Astaire dances. He’s reacting 

to the crisis. What I’m interested in there 

is the idea that the crisis isn’t a real phenomenon, 

but a representation, a little like 

the plague during the middle ages. 

You declare that there’s a tremendous danger 

that’s going to submerge society, in order 

to legitimize power. Indeed, it's no accident 

that, following the 1929 crash, the original 

version of last year’s crash, musical comedies 

reinvented themselves as a genre in their 

own right. Unemployed Americans filled 

theaters where they could see bodies so 

different from their own, bodies which 

seem to defy the laws of gravity. In Dance 

with me (2007) I used 157 YouTube videos 

of young girls dancing to the same RnB 

song. They copy and resemble each other, 

like a choreographed ritual spreading 

PHOTOS © GREGORY CHATONSKY / R.R.

Dance with me 

(2007) 

Dance with U.S. 

(2008) 

Hisland, 

GrÈgory 

Chatonsky, 

2008 

across the network. If you have an MP3 

player, you can hook it up and the girls 

dance to the rhythm of our music. They’re 

young, a little too young, and their dancing 

is sensual and lewd, but because they 

recorded and posted themselves on YouTube, 

one might wonder about the nature of our 

own voyeurism. What is this young teenage 

desire to become an image? And what 

becomes of the image, when it produces 

and diffuses itself (no more producers)? 

Isn't dancing really that strange relationship 

between the human being and an evolving 

image? 

What are your upcoming projects? 

I can’t talk to you about all of my projects. 

I’m a productive artist, perhaps too 

productive. Unlike certain artists of my 

generation, my work is still intuitive, and 

so it's difficult for me to anticipate what 

I'm going to do in the days and months 

to come. There's one project, which is 

actually a prototype, because we premiered 

it on 27 February at the Contemporary 

Art Museum in Montreal, which is typical 

of my current method: Capture, which 

I’m creating with Olivier Alary. Capture is 

a prolific rock band which is always 

creating new pieces, by looking for lyrics 

on the internet and composing generative 

music for it. The concerts last 8 hours or 

more, and are an opportunity to create 

new pictures or sculptures, related to the 

context. Capture has an extremely active 

internet social life, with new Facebook 

Capture, 

Nuit Blanche 

2010 

MACM 

Capture, 

Generative 

city game 

and Twitter messages every minute. 

A large number of tasks are automated, 

meaning that even the band members 

can't listen to everything. While the music 

industry is constantly announcing its own 

death, Capture has turned the problem 

upside down. By being extremely productive, 

Capture has exceeded the very possibility 

of being listened to. The idea of 

Capture is to create a utilitarian celebritymaking 

machine. There’s also Circulation, 

which was ordered by Susanne Jaschko, 

which transforms traffic flows into discourse 

on love. 

JULIE MIGUIRDITCHIAN 

+ INFO: 

< http://gregory.incident.net > 


DIGITALARTI INVESTMENT FUND 


THE DIGITAL ARTS 

INVESTMENT 

FUND In order to take part in the growth and organization 

of the contemporary art market, Digital Art Promotion 

is launching the first digital arts investment fund 

in the world. The company is run by Digital Art 

International. The idea is to acquire works of digital art 

internationally, and to organize the promotion of the 

artists and their pieces. The company holds on to most 

of the pieces for a long period of time, operating as 

a mutual fund over a period of 5 to 8 years. 

Why invest ? 

There are many reasons to invest, from 

helping to set up a major collection in an 

artistically innovative field, to the perspective 

of high financial yields. 

The pleasure of collecting, and becoming 

an artistic and cultural patron 

By contributing to the international cultural 

prestige and development of digital art, 

discovering and supporting high quality 

and talented artists. 

Discover the world of tomorrow 

These imaginative artists are at the forefront 

of innovation, using new models 

and objects, probing their relationship 

with the internet, users and interactivity. 

Every day, especially in the digital 

domain, our relationship to our personal 

and professional environment is being 

radically changed. Taking part in Digital 

Art Promotion offers a window on these 

innovations. 

Return on investment 

The fund’s goal is to provide high rates of 

return. With entry beginning at €1000, risk 

is low. Furthermore, your investment is 

secured by the art work, the means of 

production, a diversified portfolio, and the 

quality of the selection committee. 

The art’s promotion strategy will lead to increased 

value for the artist. Finally, fund managers 

have a stake in the fund's success, and a large 

percentage of their retribution is based on 

value added to works of art that get sold. 

Keyword, Reynald Drouhin 

The art market 

A solution to the crisis : generally speaking, 

art is a safe medium and long term investment 

vehicle. The art market, worldwide, 

is equivalent to $ 45 billion per year (according 

to les Echos, 2009). Contemporary art 

makes up 16% of that market. 

Tax free inheritance 

A 75% rebate on the French asset tax 

(TEPA law), and a 25% tax rebate make 

these investments easier to make. 

Art work isn't considered as an asset by 

inheritance law, and is automatically 

included in the 5% value of real estate. 

Many investors have already entered the 

digital art investment fund 

The "Digital Art Promotion" investment 

fund founded in April 2009 has attracted 

numerous subscriptions since March 1 st 

2010, thanks to which the fund has 

acquired its nine first works of art; seven 

of these works are pictured in this article. 

The fund is currently open for subscriptions 

from investors of every stripe. 

A high quality acquisition policy led by an 

international selection committee 

> Nils Aziosmanoff, president of Art 3000 - 

Le Cube, Le Cube, Issy-les-Moulineaux, 

France 

> Dooeun Choi, artistic director, NABI art 

center, Seoul, South Korea 

> Kathleen Forde, curator of EMPAC, Troy, 

New York State, USA 

> Philippe Franck, founder and director of 

Transcultures, Mons, Belgique 

> Dominique Roland, director of arts 

center, Enghien-les-Bains, France 

> Jean-Luc Soret, artistic director of the 

Maison Européenne de la Photographie, 

Paris 

> Alain Thibault, founder and director of 

the Elektra Festival, Montreal, Quebec 

PHOTOS: © R.R.

Blue - Move 36, 

Eduardo Kac 

Surnatures 2, Miguel Chevalier, 

software creation: Music2eye 

This committee searches for and retains 

high potential artists: who are recognized 

on the international scene, whose works 

are present in public and private collections, 

whose technical mastery has been 

acknowledged, who have created their 

own artistic universe, both original and 

unique, who have a remarkable ability to 

produce works 

The selected piece of work will meet two 

criteria: it should show significant signs of 

being a piece of contemporary art work, 

I just don’t know what to do with myself, 

Grégory Chatonsky 

and should reflect current developments 

and stakes in the digital world today 

A thorough promotion of the artists and 

their works 

The investment rules include a major provision 

reserved for the artist's promotion, 

indispensable for the artist’s success. 

Promotion of the collection 

Digital Art International, in charge of promoting 

the pieces acquired by the fund, will 

dislocation II, 

clavier, 

GrÉgory Chatonsky 

Still Living, Antoine Schmitt 

work as a network to study, develop, and 

promote the collection. The company will 

choose the solutions that are most likely to 

diffuse the collection (exhibiting the collection 

in arts centers, contemporary art 

conventions, in international festivals, etc.) 

and will organize the conservation of the 

physical objects and digital data that make 

up the complementary and artistic heritage. 

+ INFO: 

< http://www.digitalartpromotion.com > 

IPC 2, 

Reynald Drouhin 


DIGITAL ART KEY QUESTIONS 

DIGITAL ART 

AND CONSERVATION 

THE ROLE OF THE ART MARKET 

C.E.B. Reas, 

TI, 2004 

(custom software, 

computer, projector, 

wooden discs, 

variable dimensions, 

edition of 5) 


Rematerialization 

The digital art market has modeled itself 

on the traditional visual arts market, 

with the tensions that are specific to 

these artistic practices; these tensions 

are related to questions about the piece's 

uniqueness, its originality, authenticity, 

and its relationship to its time. Artists 

and galleries have experimented with 

different sales models; and, though 

there has been some change in recent 

years, no art market for this type of 

work has yet to have come about. 

What role does the art market play in the conservation 

of digital art? In order for a piece to be conserved, 

it has to be associated with a value. Furthermore, where 

there is market value, there must be aesthetic value, 

which, in turn, creates market value. The value of a piece 

of art is determined by the interaction of several 

protagonists: the art dealer, the museum curator, the art 

historian, and the art critic. The value that is given to 

a piece leads to its conservation, and vice versa. 

The market is one of the places where art is exchanged, 

even in cases where access to that art is free (as is 

the case with net art). 

While it’s early yet to speak of a real 

digital art market, there has been 

some movement in that direction over 

the past few years. A good example of 

this is the Holy Fire, Art of the Digital 

Age exhibit, which took place at the 

iMAL (Interactive Media Art Laboratory, 

dedicated to digital culture and 

technology) from the 18 to the 30 of 

April 2008, in Brussels, as part of the 

"Off" program of the contemporary 

arts fair, ArtBrussels. The exhibit's 

theme was the monstration of "collectable" 

digital art to be found on the 

art market, either in galleries or in 

private collections. 

In organizing this exhibit, Yves Bernard 

and Domenico Quaranta sought to 

expose digital art beyond the "ghetto" 

of its usual circuits (festivals, specialized 

spaces and web sites), and come 

directly into contact with a contemporary 

arts event. This exhibit gave rise to a 

dispute among certain artists and critics, 

opposed to the rematerialization of 

software or pieces designed to be shown 

on line. The exhibit was almost entirely 

made up of autonomous objects made 

to be hung up on walls, that react to a 

visitor’s presence, impressions, performance 

images, and non-interactive, 

non-participative video installations; 

and yet, most of the exhibit's 27 artists 

or collectives were specialized in interactive 

art, and usually net art. 

PHOTOS © COURTESY BITFORMS GALLERY NYC

Golan Levin & 

Zachary Lieberman, 

Reface (Portrait 

Sequencer), 2006 

(LCD screen, 

custom software, 

computer, camera, 

plexiglass 

enclosure, edition 

of 6) 

In the exhibit catalogue, exhibit curator 

and critic Domenico Quaranta explains 

the importance of the market in the 

life cycle of art work, beyond simply 

financing the ongoing production of 

artists: When the market is functioning 

correctly, it plays a decisive role as buffer 

between the experimental freedom of the 

artist and the historicization of their 

work. On the one hand, you have complete 

freedom, and on the other, a series 

of physical, economic and cultural 

pre-requisites in order for a piece of work 

to last over time. The result of this collision 

is what we call the "work of art" (1) . 

The exhibit brought together work 

from galleries specialized in digital art, 

such as Bitforms and Postmasters in 

New York, DAM in Berlin, or Numeris 

Causa (whose Parisian gallery closed 

in 2009). 

Rarefaction 

What do collectors buy? According to 

Steven Sacks, the former web entrepreneur 

and start-up creator who founded 

the Bitforms gallery in New York (with 

a branch in Seoul), buyers, including 

private collectors and companies, still 

prefer material objects to software (2) . 

In 2005, he started the Software ART 

space project, which sold works of 

CD-ROM screen art on line for $125 

(a limited series of 5000 CD-ROMs). 

The experiment didn’t last. Even pure 

software or online pieces are often sold 

as objects, such as a computer containing 

the software (or access to a server), 

or a screen dedicated to the piece, like 

the frame of a painting. The price, 

obviously, isn’t the same as that of files 

on a server, but money doesn’t seem 

to be a factor. 

The legal definition of a work of art is 

based on the concept of scarcity. 

The artistic photograph and video art, 

both of which are precursors to digital 

art, both followed the model of the 

visual arts market, rather than that of 

the print market. The parallel is particularly 

illustrative for video art. Video 

art got started in the beginning of the 

1960s, as the Portapak brought video 

cameras within the reach of the consumer. 

At the time, artists believed in giving 

shape to a utopia, based on the idea 

that images could be created spontaneously, 

for immediate distribution, 

and with a small budget, outside the 

framework of mass media. 

The idea of limited distribution was 

foreign to this approach. The rarefaction 

of video art began later, simultaneous 

to its commercialization in the 

1980s, which took two forms: putting 

a cap on the number of copies produced, 

and the emergence of the video 

installation, which combined video 

tape and scenography, coupled with 

the presence of other objects, or the 

participation of the audience. 

The number of copies was limited 

arbitrarily, rather than in function 

technological imperatives. 

This strategy applied to both private 

and institutional collectors. The market 

for video installations, however, was 

the museum, because of constraints 

connected to the showing, storage and 

conservation of the works of art. 

Reproduction 

The initial phases of net art and software 

art, for example, were rather similar to 

those of video art. They share the 

immediate and spontaneous nature of 

the creative process, and the possibility 

of being created and distributed at 

lower cost. These are, however, digital 

works, as opposed to video production, 

which uses primarily analogue technology, 

with a resulting loss of reproductive 

quality. Generally speaking, for the 

video rush market, the richer the 

sound and image are (with higher 

quality materials, such as Beta), the 

fewer copies produced, and the higher 

the price. 

Conversely, prices drop when the 

copies are made on material that gives 

a lower quality rendering (like VHS 

video cassettes). Concerning digitallybased 

pieces, there’s no difference in 

quality between the original and the 

copy, and the difference in value is 

purely conventional. As for internet 

pieces, scarcity applies neither to the 

production side, nor to the distribution 

side of the equation. Maintaining 

certain pieces in a situation where their 

eventual obsolescence is expected, 

even programmed, is a way of adding a 

dose of scarcity; the technical fragility 

of digital arts brings them closer to the 

unique object which is central to the 

market. De facto, those pieces that 

"survive", will have a certain value. 

Beyond the gallery, the strategies used 

by the artist to sell their work is considerably 

different from those used by 

the dealer; these strategies bring them 

closer to the culture and printing 

industries than to the unique piece of 

art sold in galleries. With certain types 

of digital art, for example, the artist 

can charge for downloading a piece, 

while putting on line a free version of 

the same piece (as with the Entropy8Zuper’s 

Godlove Museum project), 

or else he can charge a subscription fee 

in exchange for access to a reserved 

portion of the internet site, as with 

Mark Napier's Waiting Room. 

Some artists have chosen to produce 

"tie-in products", like Nicolas Frespech 

and his books on demand. Other artists 

have created their own sales galleries 

to market their pieces, for example the 

Electroboutique launched by artists 

Alexei Shulgin and Aristarkh Chernyshev. 

They designed a series of colorful, pop, 

consummately consumable, provocative 

pieces, "Media Art 2.0". Casting an 

ironic eye on the market, they take part 

in it completely. 

(1) Yves Bernard & Domenico Quaranta (under 

the commission of), Holy Fire, art of the Digital Age 

(iMAL, Brussels / Belgium, 2008). 

(2) www.digicult.it/digimag/article.asp?id=480 

+ INFO: 

< www.bitforms.com > 

< www.electroboutique.com > 

< www.imal.org/HolyFire/fr/ > 

< www.numeriscausa.com > 

< www.postmastersart.com > 

< http://softwareartspace.com/ > 

ANNE LAFORET 


DIGITAL ART EXHIBITION 

DECODING 

THE DIGITAL 

London’s Victoria & Albert Museum, whose 

collection covers 3000 years of decorative 

art and design, welcomes the "Decode" 

exhibit, which, with its 34 pieces, offers 

an overview of digital creation from 2003 

until today. Viewings, installations and 

sculptures are displayed on the museum's 

façade, set up in the garden basin, spread on 

the ground or hung up on darkened walls. 

Decode: 

Digital Design 

Sensations 

Victoria & Albert Museum 

until 11 April 2010 


The museum goer watches and physically 

experiences the event, which was organized 

in collaboration with onedotzero. 

Onedotzero is an organization that was 

created in 1996 by Matt Janson, an English 

movie maker, with the goal of promoting 

the art of the moving image, via the 

organization's festival of the same name. 

Cutting-edge, experimental and fun, this 

exhibit is a must-see. 

The walk through "Decode", which can be 

experienced as a trip through the possibilities 

of the digital, is structured around 

three themes: the Code taken as an IT language 

made up of visual and sound data, 

internet, and interactivity. 

Daniel Brown’s On Growth and Form welcomes 

the spectator. Similarly to C.E.B. 

Reas’ Ti water lilies, these virtual flowers, 

inspired by objects from the museum’s 

permanent collection, change freely. 

John Maeda, the star, whose Nature series 

was exposed at the Fondation Cartier in 

2004, has also taken up the challenge of 

creating software that generates shapes 

inspired by nature. These generative pieces 

–automatically self-generating—allow 

their creator to dive into the virtual world, 

and experiment with the absence of spatial 

and temporal limits. The world ceases to 

be linear, as it is in Western art, where 

linear perspective, symbolizing the 

concept of a beginning and an end, was 

created; instead, the world becomes circular 

and undetermined. Meanwhile, other 

artists prefer to remove themselves from 

the aesthetics of the real world, in order to 

create a virtual world made up of geometric 

shapes, inspired by codes and technological 

equipment. For Ryoji Ikeda, known for his 

electronic visual and sound performances, 

abstraction is the rule. Data.scan, with its 

series of lines, represents the immense 

quantity of data surrounding us. The entire 

thing, shut up inside a box, as if in a vain 

attempt to control the infinite. 

Because they’re the fruit of complex 

algorithms and occasionally expensive 

technological materials, digital pieces 

require the conjunction of several types of 

competencies. Artists work with IT 

specialists, and designers create studios 

like Universal Everything, with Matt 

Pyke, or the Japanese multimedia design 

studio Wowlab. Film maker James Frost’s 

House of Card is a typical example. 

This video, which has won several prizes, 

shows the face of Radiohead singer Tom 

York, in 3D. No camera was used to film 

this clip, but cutting edge technology 

requiring technicians specialized in 3D 

imaging. Aaron Koblin later directed the 

interactive version of the video. 

While the internet is a warehouse for 

certain intangible pieces, like Lia’s Arcs 21, 

which is freely downloadable onto an 

iphone, it is also the place where certain 

artists find their raw materials. They recuperate 

visual or textual data left by web 

surfers, and use them to create digital 

landscapes that convey thoughts on our 

society. Jonathan Harris and Sep Kamvar's 

We feel fine, Sascha Pohflepp and Karsten 

Schmidt's Social Collider, and Mark Hansen 

and Ben Rubin's Listening Post re-use 

phrases left by bloggers. The subsequent 

moving images, and the impressive installation 

of dozens of screens where the 

words are read, as they appear, by a 

synthesizer, give spectators a peek at the 

mood of the planet's inhabitants. By recuperating 

personal data from the net, these 

pieces play on our voyeuristic tendencies. 

They also reveal the ambivalence of internet's 

controlled freedom. 

In the third part of the exhibit, artists use 

the spectator’s body to activate their 

pieces. Mehmet Akten’s Body Paint transforms 

the viewer into an action painter.

PHOTOS/IMAGES © DAAN ROOSEGAARDE / XURBIA XENDLESS LTD / JOHN BERENS, BITFORMS GALLERY NYC / R.R. 

On Growth and Form series, 

Daniel Brown, 2009 

Weave Mirror, 

Daniel Rozin, Collection of 

Jonathon Carroll, 2007 

Radiohead: House of Cards, 

Technical Director: Aaron Koblin 

Director: James Frost 

Production Company: Zoo Films, 

Los Angeles, 2008 

Like the wind, they can sway the branches 

of Simon Hejden's Tree, or control the drops 

of rain and aquatic waves in Wowlab's Light 

Rain. Technology leads back to nature, 

and creates connections between man and 

his environment. Daan Roosegaarde’s 

Dune, a forest of illuminated stalks, a 

permanent version of which can be seen on 

the banks of the Maas river in Rotterdam, 

responds to the movement and sounds of 

the visitors that walk through it. 

Dandelion, a more elaborate and less poetic 

version of Michel Bret and Edmond 

Couchot's 1990 Pissenlit, recalls the 

Body Paint at Tyneside Cinema, 

Mehmet Akten, 

2009 

starry-eyed moments of childhood. 

Then the spectator loses control of his 

body, which continues to interact with the 

art. Rather than being observed, Golan 

Levin’s mechanical eye, Opto-Isolator, 

observes the spectator. rAndom International 

and Chris O’Shea’s Audience, which 

is made of dozens of mirrors spread out 

on the ground, spies on visitors’ gestures. 

The same artists used biometric facial 

recognition technology to create Study for 

a Mirror, technology which is already 

being used by certain casinos in France. 

The piece captures your image, then 

Opto-Isolator, 

Golan Levin with 

Greg Balthus, 

2007 

Videogrid, 

Ross Phillips, 2008 

Dune, 

Daan Roosegaarde, 

2006-2009 

transcribes it directly into an ephemeral 

digital painting. Finally, at the circuit’s 

end, in the garden, is Jason Bruge’s installation, 

Mirror Mirror. Dozens of digital 

signs are spread out on the surface of the 

water, and light up as visitors walk by, 

reflecting their images back across the 

aquatic surface. And then the time comes 

to sit by the pool, and remember experiences 

past. 

AUDE DE BOURBON PARME 

+ INFO: 

< http://www.vam.ac.uk/microsites/decode/ > 


DIGITAL ART EXHIBITION 

FEEDFORWARD 

"According to Benjamin Weil, the principal curator of Laboral, the Feedforward 

exhibition is just a "sequel" to Feedback, the inaugural exhibition of the Centre 

for Art and Industrial Creation in Gijon, Spain. Its organisation was entrusted 

to Christiane Paul, one of the curators of the Whitney Museum in New York, 

and to Steve Dietz, the artistic director of the Zero1 biennale of San José, 

California. The exhibition’s subtitle, "The Angel of History" is a reference to 

an essay by Walter Benjamin." 

The aesthetics of simulation 

Everything in the Russian collective 

AES+F’s, Last Riot is just simulation. 

Mountains and rocks in the distance as 

well as in the foreground are idealised as 

in the paintings of the Italian artist Andrea 

Mantegna. The rocket fuselages, the 

planes and missiles are smooth like the 

surfaces of 3D models before they receive 

their textures. The actors are young and 

beautiful like they are in fashion photography. 

No emotion will appear on their 

faces even though they incessantly play 

and replay scenes of execution with 

knives and swords in their hands. 

There is neither sweat, nor blood in this 

ideal world where rocket missiles and 

imminent crashes of planes in distress 

give away the end. Such a display, of 

advertising style beauty placed in a 

museum setting is a little disturbing even 

if in this particular case it’s "make-believe" 

as children say when playing war, unlike 

those who make war for real. As for 

weapons of mass destruction, they too 

have their presentation leaflets. 

The art of informing 

Tantalum Memorial - Residue is part of a 

series of installations conceived by the 

artists Graham Harwood, Richard Wright 

and Matsuko Yokokoji that is structured 

around antiquated automatic telephone 

switches. The one that is presented at 

Laboral is imposing for its size and the 

appearance of its old-fashioned electronic 

components, which give it a very mysterious 

look. As for its title, it refers to the 

ore known as Coltan that contains two 

minerals, called respectively Colombite 


and Tantalite. These same minerals are used 

in making cell phones and video game 

consoles. But 80% of the world’s Coltan 

reserves, which have recently become 

precious, are found in the Democratic 

Republic of Congo, where conflicts that 

are referred to as the Coltan Wars have 

been raging for the past few years; 

conflicts that have already claimed nearly 

four million lives in the face of the international 

media’s complete indifference. 

The Gijon Centre for Art, following the 

festivals of Zero1 in San José, Transmediale 

in Berlin and Ars Electronica in Linz, is 

creating an echo of the massacres in which 

we are participating, without even knowing 

it, in our unbridled use of cell phones. 

Auto surveillance 

Hasan Elahi was arrested by FBI agents in 

2002 at the Detroit airport and only after a 

lengthy series of lie detector tests did they 

learn that the artist was absolutely beyond 

reproach. He then decided to inform the 

agent who had given him his telephone 

number where he was going before each 

of his trips. Hasan Elahi is highly solicited 

around the world, notably to touch on the 

site "trackingtransience.net" that he 

created in 2004 to avoid a repeat of such 

unpleasantness. This website makes it 

possible to know, in real time, where he is 

via Google Earth. The little arrow tells us 

where he is located at any given moment, 

while his travels are documented by 

numerous photos accompanied by textual 

information. We know, for example, what 

he ate aboard a Boeing 777 on Continental 

Airlines going from the Tokyo Narita 

airport to Newark and learn that he spent 

2 dollars and 87 cents in a Starbucks 

Coffee in New York on April 15 th 2008. 

This art oriented auto surveillance makes 

us think about the digital traces that we 

leave behind each one of our steps. It’s a 

very short jump for them to be processed 

in a crosschecking bureau like the one in 

the 1985 film Brazil by Terry Gillian where 

an arrest is also made, by mistake… 

Revealing the distance 

Trevor Paglen is a research artist in cultural 

geography who recently published a book 

entitled Blank Spots on the Map. He is 

interested in the zones that are kept secret 

on American soil, such as the military 

base located in the celebrated Area 51 that 

has inspired so many authors and screen 

writers. He practices what he calls, Limit 

Telephotography by using material that is 

used by astronomers. It is with cameras 

equipped with telephoto lenses with focal 

lengths that can reach up to 7,000 mm 

that Trevor Paglen photographs what is 

happening from afar. Quite a few of his 

images are therefore blurred with rather 

faded colours like the landscapes in the 

backgrounds of paintings. The contours of 

the hangars that we can make out in one 

of the photos taken from a distance of 18 

miles, about 29 kilometres, are indistinct, 

like they are in some of Gerhard Richter’s 

paintings. Trevor Paglen’s images reveal 

the thick layer of ether that separates the 

lens from the subject itself. They represent 

nothing other than the distance induced 

by what is kept secret. 

Immersive journalism 

It is now possible to visit the prisoner 

camp of Guantanamo virtually, before 

Barack Obama, who promised to close it 

in 2008, shuts it down definitively. 

The project is called Gone Gitmo and was 

conceived by Nonny de la Pena and Peggy 

Weil. One can thus wander about freely in 

Second Life, within the Delta and X-Ray 

camps reconstituted in 3D. You can even 

put on an orange prison outfit when an 

agent is available to get more into the role 

and follow a pre-scripted scenario where 

torture, happily, is excluded. This is what 

the two artists call "immersive journalism". 

But are we ready to incarnate a 

prisoner in this context in the manner we 

do in projecting ourselves into a fictive 

character, not to mention the issues tied 

to international rights or simply to human 

rights this prison raises, knowing that 

video game players are more inclined to 

choose the role of a terrorist rather than a 

counter terrorist? 

Personal diaries 

PHOTOS © SARAH RUST SAMPEDRO, R.R.

Christopher 

Baker, 

"Hello World", 

2008. 

Nonny de la Pena 

& Peggy Weil, 

"Gone Gitmo", 

2007. 

Hasan Elahi, 

"Tracking Transience", 

2009. 

Diaries in which one would write "Dear 

Diary" at the top of the page and whose 

contents one would protect with the help 

of little locks are fading out. As for videoblogs 

that openly address the entire world 

by beginning with "Hello World", they are 

on the rise. It is for this reason that 

Christopher Baker has brought together a 

few thousand in order to broadcast them 

simultaneously within a video installation 

called "Hello World". Though these 

sequences are relatively uninteresting 

individually, their multiplication gives 

birth to a strange audiovisual cacophony. 

The repetition of an object, whatever it is, 

generally removes it from its tedious 

banality. But the American artist is implementing 

a reversal through this accumulation 

because those who think they are 

addressing the entire world from the 

intimacy of their bedrooms now find 

themselves immersed in a crowd of people 

while a single spectator can be situated in 

the place of the camera. 

Arrogance or provocation 

Ali Momeni, who was born in Isfahan in 

Iran and currently teaches at the University 

of Minnesota, considers his installation 

Smoke and Hot Air to be a "response to the 

relentless threats against Iran by a myriad 

of more fortunate countries in recent 

years". Momeni got together with Robin 

Mandel to conceive a strange machine that 

Harwood, Wright & Yokokoji, 

"Tantalum Memorial - Residue", 

2008. 

makes real smoke rings whenever it finds 

phrases that include "Attack Iran" on 

Google News. These same phrases are then 

automatically converted to Text-To-Speech 

with a software application while the 

material part of the machine translates them 

into smoke rings. The room where the 

work is exposed is filled with thick smoke 

while the noise of the machine’s wooden 

valves struggle to cover the synthetic voice 

that is spouting threats. But what kind of 

arrogance does this machine symbolise? 

That of presidents of Western countries 

who are failing to govern the world or that 

of another president whose favourite arm 

is nothing more than provocation? 

The Angel of History 

Lastly, Labour Camp Study Room D, by the 

artist Piotr Szyhalski, brings together four 

metallic panels equipped with vu-metres, 

switches and other tuning buttons and 

headsets. Spectators can manipulate these 

interfaces with their old fashioned beauty 

to listen to sound archives that range from 

WW2 to the war in Iraq. Control here 

though is only an illusion because it soon 

becomes apparent that it is the machine 

that "decides". But the piece is indeed 

about history as is this exhibition where 

the catalogue begins with a few lines 

taken from Walter Benjamin’s "On the 

Concept of History": "A Klee painting 

named ‘Angelus Novus’ shows an angel 

looking as though he is about to move 

away from something he is fixedly 

contemplating. His eyes are staring, his 

mouth is open, his wings are spread. 

This is how one pictures the angel of 

history. His face is turned toward the past. 

Where we perceive a chain of events, he 

sees one single catastrophe which keeps 

piling wreckage and hurls it in front of his 

feet. The angel would like to stay, awaken 

the dead, and make whole what has been 

smashed. But a storm is blowing in from 

Paradise; it has got caught in his wings 

with such a violence that the angel can no 

longer close them. The storm irresistibly 

propels him into the future to which his 

back is turned, while the pile of debris 

before him grows skyward. This storm is 

what we call progress." 

WRITTEN BY DOMINIQUE MOULON 

FOR IMAGES MAGAZINE AND TRANSLATED BY 

GEOFFREY FINCH FOR DIGITALARTI.COM. 

AES+F, 

"Last Riot", 

2007. 

Ali Momeni & Robin Mandel, 

"Smoke and hot air", 2007 / 2008. 

+ INFO: 

Laboral < www.laboralcentrodearte.org > 

AES+F < www.aes-group.org > 

Tantalum Memorial < http://mediashed.org/TantalumMemorial > 

Tracking Transience < http://trackingtransience.net > 

Trevor Paglen < www.paglen.com > 

Gone Gitmo < http://gonegitmo.blogspot.com > 

Christopher Baker < http://christopherbaker.net > 

Ali Momeni < http://alimomeni.net > 

Labor Camp < http://laborcamp.mcad.edu > 


ARTIST OF THE MONTH EDUARDO KAC 

BIOLOGICAL 

ART 

GFP K-9 

Everything really started in 1998, 

when Eduardo Kac wrote an article 

proclaiming the coming of "Transgenic 

Art". Published in the Leonardo 

Electronic Almanac, the article 

acquired the status of a manifesto. 

The artist suggests that transgenic art 

is a new art form based on the use of 

genetic engineering techniques to 

transfer synthetic genes to an organism 

or to transfer natural genetic material 

from one species into another, to create 

unique living beings. The letters "G", 

"F" and "P" in the title of the GFP K- 

9 project described in the article, 

refer to the fluorescent green protein 

exuded by the Aequorea Victoria 

jellyfish that inhabits the north-west 

Pacific, while K-9 refers to the 

homophonic canine. In fact, Eduardo 

Kac’s project was to create a fluorescent 

dog in a laboratory. This 

"unique living being" was, in fact, 


not to be; instead, he produced a 

fluorescent green doe rabbit, which 

would become the second installment 

of his Creation Trilogy. 

Genesis 

The first installment of his Creation 

Trilogy is none other than Genesis, 

based on an "artist’s" gene, obtained 

by translating the first verse of Genesis 

into Morse code, and converting that 

code into DNA base pairs. In his art 

and his poetry alike, Eduardo Kac 

explores linguistic matches and 

conversions; here, Morse code wasn't 

chosen randomly, because, at the 

beginning of the 19 th century, it was 

the precursor to all the remote 

communication that would follow. 

Because the artist’s synthetic gene 

contains a GFP sequence, it renders 

bacteria into which it is transferred 

florescent, just like his rabbit. As for 

those bacteria, they find their home 

Eduardo Kac is an artist whose practices are 

constantly shifting and recombining. 

He has designed robotic and interactive pieces, 

as well as remote presence works, before 

moving on to the body, as early as 1998, and 

defining what he would later call Transgenic Art. 

But he is also the author of research publications 

and various forms of poetry, using holographs, 

digital technology, and the biosciences. 

TO READ: 

Eduardo Kac 

& Avital Ronell, 

Life Extreme: guide 

illustré des nouvelles 

formes de vie 

(Disvoir Editions 

Éditions). 

Infos: www.disvoir.com 

in a petri dish in the middle of the 

piece. During the exhibit, however, 

surfers can activate, from afar, the 

ultra-violet rays that would accelerate 

the mutation of the bacteria that 

carry the holy message: Let them rule 

the fish in the sea, the birds in the sky, 

the domestic animals. And thus the 

audience participates, or chooses not 

to participate, in the transformation 

of a sentence that legitimizes the 

domination of man over all the other 

creatures of the earth. Beyond its 

fundamental complexity and its physical 

appearance, the Genesis’ symbolism 

makes it relatively ambiguous. 

Indeed, the artist uses biotechnology 

that makes it possible for us to act 

upon vegetable and animal life 

forms; by doing so, he authorizes, 

without actually encouraging us, to 

transform the sentences that legitimize 

our mastery of these life forms, but 

the final responsibility is entirely

PHOTOS © D.R. 

Genesis, 

1999 

ours. Eduardo Kac reminds us that 

the only way to change "the word of 

God", and resist the ideology of 

human domination, is by 

activating the genetic 

mutation of bacteria. 

If we don’t do anything, 

though, the text which 

proclaims that domination 

remains intact. 

GFP Bunny 

Exactly on April 29 

2000, Eduardo Kac finally 

holds in his arms the doe 

rabbit that he, his wife and his 

daughter had named Alba. Indeed, a 

part of the GFP Bunny project 

is the social integration of 

the animal within the family 

unit. Alba is exactly like 

any other albino rabbit, 

except that she is colored 

by her florescent green 

proteins when she is placed 

under a blue light. Because of 

this difference, however, she’ll be 

forbidden to leave the research laboratory 

where she was produced. 

So the artist becomes an activist for 

his rabbit's liberation, even putting 

up posters around Paris, like in a 

political election, or quite simply 

when one has lost one's pet. And it’s 

the world’s surfers who then picked 

up the green bunny relay, granting 

her extremely long life as she multiplied 

across the web, like a virus that 

had escaped the control of its creator. 

In fact, from the beginning, that, 

too had been foreseen by the artist: 

to make the media debate caused by 

Alba's appearance a part of the GFP 

Bunny project. Once more, without 

the slightest value judgment, Eduardo 

Kac has used his art to spark an 

ethical debate on life in the biotechnological 

era. 

The Eighth Day 

I remember asking Eduardo about 

one of his pieces, as we were walking 

in Paris one day. When I made a 

mistake about the title, asking him 

about his "Seventh Day", he answered 

with humor and humility: No, 

actually, the seventh day isn't mine! 

Indeed, the 2001 piece that concluded 

his Creation Trilogy is called 

The Eighth Day. It shows an entire 

ecosystem where plants, amoeba, 

fish and mice live together. 

The only thing these protozoa, 

plants and animals have in common, 

is the fact that they have been 

designed, in various different laboratories, 

using the same florescent 

gene used in Genesis and GFP Bunny. 

Thus, beneath the piece’s blue lighting. 

the real difference would be to not be 

bio-luminescent. The GFP amoeba 

have a special role, in the situation 

that has been created by the artist: 

by subdividing, they "control" the 

movements of the robot they live in. 

The consequence is the creation of 

multiple points of view for remote 

visitors, via their web interface. 

Already, with a 1986 piece, Eduardo Kac 

had initiated telepresence art, which 

would become his major field of experimentation 

during the 90s. >>> 

GFP Bunny, 2000

Eduardo Kac, 

in the lab 

TO READ: 

Eduardo Kac, 

Histoire Naturelle 

de l’Énigme et 

autres travaux 

(Editions Al Dante). 

Infos: www.al-dante.org 


transgenic art 

is a new art form based on 

the use of genetic 

engineering techniques 

Move 36 

The title of the piece that came after 

the Creation Trilogy, in 2002-2004, 

Move 36m, brings to mind the 1997 

chess match between Garry Kasparov 

and the computer Deep Blue. 

Indeed, it’s precisely at the 36th >>> 

move 

that Kasparov would be particularly 

taken aback by the computer’s strange 

"decision", before losing the match 

a few seconds later. Therefore, at the 

center of the piece, is a chess board 

whose white squares are made of 

silicon sand, the material used to 

manufacture computer parts, and 

whose black squares are made up of 

nutrient-rich soil. A special plant is 

located precisely at the place where 

the game had turned, special because 

of certain associations thought up, 

once more, by the artist. Eduardo 

had converted Descartes' sentence, 

Cogito ergo sum (I think therefore I 

am) into ASCII, the language used in 

machine/human interface, before 

converting it into the genetic letters 

A, C, G and T. This "Cartesian" gene, 

finally, was associated with the gene 

that causes the twisting of the plant 

which incarnates this historical turning 

point. The turning point of a 

possible victory of the "artificial" 

intelligence of machines over the 

human mind would inevitably lead 

to the re-examination of the Cartesian 

thinking that had helped to 

define "being", especially in a period 

where the barrier separating animals 

and the human species is growing 

ever thinner. 

Specimen of Secrecy about Marvelous 

Discoveries 

Next comes the period, between 2004 

and 2006, during which Eduardo Kac 

"ignites" (rather than "lauches") the 

pieces that make up Specimen of 

Secrecy about Marvelous Discoveries, 

also known as biotopes. He starts up 

his inventions by integrating the 

microorganism-rich biocenosis into 

his biotope, primarily made up of 

earth and water. And then the artist 

uses the amount of light the ecosystem 

receives to control its metabolism. 

He points out that each biotope, 

and therefore each indivual piece in 

the series, is ontologically ambiguous, 

somewhere between a plant and a 

"living image", because, on the one 

hand, it is necessary to take care of the 

piece (water it, give it light), while, on 

the other hand, the "image" is in a state 

of constant mutation; differently 

colored regions come together and 

mingle before becoming acquiring new 

shapes and colors. Consequently, the 

public never sees exactly the same 

exhibit twice, because life goes 

inexorably on. And when a collector 

purchases one of his pieces, the 

collector commits to its upkeep in 

much the same way that one keep's 

one's garden. The biotope, adds the 

artist, shows "its owner" its level of 

happiness, in other wo’ds, its active 

metabolism, through the evolution of 

its changes colors and shapes.

PHOTOS © NEIL OLSZEWSKI + D.R. 

Move 36, 

2002-2004 

The Eighth Day, 

2001 

Natural History of the Enigma 

It was visitors to the Weisman Art 

Museum of Minneapolis who, 

recently, were the first to discover 

the 2003-2008 transgenic piece, 

Natural History of the Enigma, about 

Edunia, a unique flower which the 

artist described as a "plantimal". 

The flower is a transgenic petunia 

with a gene from the artist’s own 

blood in its veins. All flowers are 

beautiful, and this one stands alone 

in the red that seems to "flow" in 

its veins. I recall the artist remarking 

to me, once, that transgenesis often 

appears monstrous, whereas genome 

research has shown that certain 

human gene sequences come from 

virus or bacteria. He concluded by 

saying: Actually, that means that 

humans are transgenic. The monster 

is us. Isn’t it, in fact, the artist’s job 

TO READ: 

Eduardo Kac, 

Hodibis Potax - 

œuvres poétiques 

(Editions Action 

Poétique / Kibla) 

+ INFO: 

< www.ekac.org > 

to expand our perception of the 

world, and to encourage us to 

perpetually reevaluate it? 

Cypher 

Finally, quite recently, the École de 

l’ADN (DNA School), Espace Mendès 

France and the Rurart art center, not 

far from Poitiers, teamed up to help 

Eduardo Kac with the production, 

followed by the exhibition, of the 

transgenic Cypher Kit. The piece 

looks like a mini laboratory, including 

synthetic DNA, petri dishes, loops, 

pipettes and test tubes. But it also 

contains a poem written by the 

artist, entitled "Cypher", awaiting 

activation by the kit’s user, following 

a very strict protocol. Thus the 

mysterious poem comes to life, expressing 

itself via a bacteria that has been 

genetically altered to become red. 

ARTIST OF THE MONTH EDUARDO KAC 

Natural History 

of the Enigma, 

2003-2008 

The poem itself is more visible than 

legible, belonging, as a result, to the 

transdisciplinary category which the 

artist calls biopoetry. As for the 

piece's meaning, there is a clear 

reference to Andrew Niccol's movie, 

Welcome to Gattaca, about a future 

based on genetic discrimination. 

The name "Gattaca" is also made up 

of the letters A, C, G and T, which 

represent the bases of DNA, Adenine, 

Guanine, Cytosine and Thymine. 

The poem suggests that a "Tagged Cat" 

will launch itself against "Gattaca". 

But what is the meaning of this cat 

which is about to attack Gattaca, 

considering that Eduardo’s last name 

is pronounced "Katz", if not the 

artist’s refusal to accept the idea of 

perfection in the domain of the 

living? 

DOMINIQUE MOULON 


INNOVATION ARCHITECTURE 

MEDIARCHITECTURE 


Digitalarti, in partnership with Muuuz.com, is presenting 

a new feature about innovation. This first article is about 

media art and architecture, with some examples of Muuuz 

news and 2 famous artists selectd by Digitalarti: 

the duo Electronic Shadow and the collective Lab-au. 

+ INFO: 

< http://muuuz.com > 

"Caught between orthogonal volumes, 

acid colors and pixelated facades, 

contemporary architecture has been 

gaining inspiration, for years now, from 

the aesthetics and codes of the digital 

world. Beyond the simple reference or 

diversion, the image and architecture 

have hybridized. Constructs are used to 

transmit contextualized information, 

events, and media. Beyond Times Squarelike 

animated screens skillfully placed 

on or hung from buildings, architecture 

itself is becoming a screen for video 

projections. Information sculpts and 

highlights volumes and materials. 

It lays itself over the architecture. 

They recompose and complete each 

other, occasionally mixing together. 

The immaterial acquires mass, the second 

dimension takes on volume, and 

thickness. Beyond projections, the 

architectural elements sometimes 

become the message, parts of the façade 

come to life, become pixels. The immobile 

moves and vibrates. The building 

keeps on building. Collectively, architects, 

engineers, researchers, mathematicians, 

artists and programmers are 

changing the forms of the façade. 

At the crossroads of disciplines and 

science, prototypes innovate and stun, 

shake up our beliefs and standards. 

Matter is changing in real time, in function 

of the moment, the context, the 

need or desire. Today the facade is being 

smoothed away, the codes are blown 

apart, architecture is shedding its skin. 

In our living spaces and our cities, the 

landscape is being transformed. And the 

possibilities are positively multiplying." 

Eric Foulon, creator and editor in chief of Muuuz.com 

Hyposurface 

"In recent years, architects and scientists 

have been developing prototypes of dynamic 

facades which can change shape in response 

to their context. Explored some years ago 

by Mark Goulthorpe Decoi the concept of 

moving the facade is still valid. Fruit of the 

combined efforts of architects, engineers, 

mathematicians and programmers, the 

changing facades loom on the horizon, 

composed of moving parts that can be 

reconfigured depending on the occasion. 

The front plate moves in 3 dimensions and 

in real time, according to the most diverse 

settings such as the influx or movement of 

users. A new form of architectural expression 

emerges". 

When the wind shapes the architecture 

"For an office building located in Utrecht, 

the Dutch architecture firm Cepezed and 

artist Ned Kahn designed a facade that 

turns in the wind. The facade consists of a 

stainless steel mesh of 300 m² which is set 

in small transparent plastic discs. 

When the wind rises, it rustles the disks, 

and the second skin vibrates, capturing the 

sunlight and reflecting the sky so fickle. 

As the pixels, the bright spots emerge as 

patterns on a front-screen constantly 

reconstituted". 

Flare, dynamic façade system 

"Recently unveiled to the public during 

the exhibition NEXT - Art and Technology 

in Arhus in Denmark, Flare is a new system 

to create animated walls and facades. 

Presented by Berlin's Whitevoid, Flare is 

composed of modules consisting of metallic 

prisms mounted on small pneumatic 

cylinders. Computer controlled, the 

ensemble can accurately transcribe any 

type of script or animation. Their skin 

usually vibrates static and animated, light 

waves traveled or movements deep. 

Dynamic architecture is decomposed and 

recomposed in the eyes of the user. 

Metal prisms capture natural light, reflections 

adorn themselves, their multi-faceted 

transition from darkness to darkness, as 

pixels turn on and off." 

Concrete led façade by Dominik Kommerell 

and Angela Renz 

"Developed by German researchers, this 

prototype concrete façade incorporates LEDs. 

And the surface becomes architectural 

media. Dominik Kommerell and Angela 

Renz, researchers at the University of 

Applied Sciences at Stuttgart, devised the 

concept of a concrete façade with a LEDintegrated 

lighting system. The animated 

inert surface diffuses light and message. 

The completed work could have an impact 

on the world of architecture, as designers and 

builders alike could implement them into the 

exterior of buildings in the future. We can 

only imagine what a modern day Frank 

Lloyd Wright would do with these resources 

during a textile block system renaissance". 

Published with Eric Foulon, Muuuz.com 

About Eric Foulon, creator and editor in chief of Muuuz.com. 

After getting his degree in architecture from the Ecole d’Architecture de Paris La Villette, Eric 

Foulon founded Muuuz.com, in July 2008. In addition to his architecture and design business, 

he also writes for the D’Architectures magazine and the publications of the Moniteur Group, 

as well as the review Le Visiteur, and various exhibit catalogues. He has also worked as a visiting 

professor at the Ecole de Design Nantes Atlantique, and co-founded, then managed the Archi- 

Services communications company until June 2009. Today, Eric Foulon works as a consultant in 

architecture, design, web site and web communications, with private clients and companies.

PHOTOS© LIGHT IMAGES BY ELECTRONIC SHADOW, HTTP://WWW.FLARE-FACADE.COM/, PROF MARK BURRY AT SIAL-RMIT-MELBOURNE, LAB[AU] / R.R. 

When the 

wind shapes 

the architecture 

by Cepezed 

and Ned 

Kahn 

Flare 

by WHITEvoid 

interactive art 

& design 

Designers 

Christopher 

Bauder and 

Christian Perst 

Touch..Interactive 

urban installation. 

Lab-au.2009. 

Dexia Tower.Brussel 

The Digitalarti selection for the 

concept of dynamic architecture: 

FRAC (regional contemporary art) CENTER 

& Electronic Shadow / The light image 

In 2012, a brand new building will be inaugurated 

to welcome the Orleans Frac, and 

its unique architectural and arts collection. 

After a contest between multi-disciplinary 

artist/architect teams, the Jakob/MacFarlane 

(architecture) and Electronic Shadow (art) 

team suggested a project in which the 

image would be totally integrated into 

the architecture. The artistic project is 

happening on the surface of the building. 

A webbing of diodes of varying intensity, 

completely integrated into the building’s 

metallic skin, lights up the building, and 

its image. The edges of the building are lit 

up, following its architectural design from 

point to line, from volume to light, and 

then the light melts into the image that 

emerges from its frame, to become architecture 

itself. This is no led screen used to 

produce a large image, but an illuminated 

webbing that is part of the building’s very 

texture, dressing it in a series of skins, 

in function of its dynamically changing 

program. The images are generated in real 

time; the system is connected to the internet 

and to the Frac network, feeding off 

various current events to alter the facade 

according to flows, the temperature, weather 

conditions, various real time statistics, and 

information related to goings on in the 

building. The building's shifting skin will 

also be clothed in animations that have 

been specifically designed for the building's 

volume, which play both on its architecture 

and the major themes of the collections. 

The building will be clothed in this light 

image, as if to join forces with an architecture 

that is simultaneously investigating its 

own volume and the concept of dematerialization, 

in a XXI st century where information 

has become matter. 

Lab-au & la Tour Dexia 

The recent, enlightening projects of the 

Dexia Tower in Brussels, shows LAb[au]’s 

approach towards ‘mediatecture' as being a 

spatial and temporal programming of light 

which can create an interactive relationship 

between the user, the building and the city; 

the result is a complete transformation in 

the design of media façades as generic 

content displays, towards new vectors to 

think architecture, art and public space. 

In the project "Touch", design aesthetics 

are directly deduced form abstract art 

such as Mondriaans ‘elementarism’ and 

Kandinsky’s ‘point and line to plane’; the 

Hyposurface 

by Mark Goulthorpe, 

dECOi Architects 

Simulation for the 

project of the FRAC 

Centre Orléans, 

France 

Jakob+MacFarlane 

Architects 

Architectural and 

artistic intervention 

by Electronic 

Shadow 

scyscraper's architecture is where points = 

pixels = windows, lines and diagonals = 

levels and edges of the building and surfaces 

= facades, thus focusing on the relational 

qualities expressed by an elementary 

language, and exploiting interactivity not 

as being a control system but rather as a 

catalyst for these relational / representational 

parameters. For the permanent enlightening, 

the project ‘Who’s afraid of Red, Green 

and Blue’ draws on references to the 

philosophy of Barnett Newman, researching 

a symbolic value in abstract art by using 

colour and time. 

The major challenge of LAb[au] within 

this context is the establishment of a 

philosophy proper to the artistic discourse, 

the building and the urban context. 

A series of projects have been conceived, 

among which specific interactive installations, 

a permanent artistic enlightening, 

and a series of live audiovisual events, 

where the aim of these enlightening projects 

is based on participation and identification, 

the creation of a new urban sign. Thus, 

the setup of entire communication chains 

allows an exchange between the individual 

and the public space, exploiting IC 

technologies, its processes and logic, to 

create a new and contemporary language 

of urban artefacts. 


INNOVATION [THE USER] 

ARCHITECTURE, MUSIC 

AND DIVERSION 

Introduced at Berlin's February Transmediale, Coïncidence Engines, by the Quebecois 

[The User], with its 1240 radio alarm clocks — beyond its obvious homage to Ligeti’s 

metronomes — provides an interesting perspective on working in a duo. With the diversion of 

their materials, via the prism of new technologies and the new social relations they create, 

and the poetic overlapping of structure, space and sound, the aesthetic and exploratory 

universe of [The User] has discovered an ideal configuration for new growth. Which beggars 

a few explanations from Emmnuel Madan, the duo’s "musician". 


[The User] is above all the encounter of an 

architect and a composer. What attracted 

you about working together to explore the 

acoustic potential of space and technology? 

I met Thomas (McIntosh) in 1996, and 

we started working together shortly 

thereafter. The desire to work together 

was connected to solid matter, which we 

both wanted to explore at the time. 

On the one hand, there was the project 

about Montreal's grain elevator, a building 

which Thomas was already interested in, 

since he had already completed his architectural 

thesis on it; and, on the other, 

the dot matrix printer orchestra, which is 

an idea that I’d been developing for some 

time already. These two projects became, 

respectively, Silophone, and The Symphony 

for Dot Matrix Printers, our two first 

productions as a collective. These two 

projects were already ingrained with the 

concerns that would remain ours until 

today; those concerns are the relationship 

between humans and their technological 

environment, the acoustic potential of 

space, and therefore the conjunction of 

architecture and music. 

Indeed, "Symphony for Dot Matrix Printers", 

revisited in a new quartet version, was a 

considerably curious re-appropriation of 

office technology. How did you design this 

diversion of a utilitarian object? 

We decided to work with dot matrix printers 

because they were extremely available at the 

time; everybody was getting rid of them 

because the ink jet and laser models were 

becoming more affordable. We were trying 

to probe our relationship with the utilitarian 

object, but beyond that purely conceptual 

aspect of the project, the Symphony for Dot 

Matrix Printers wouldn’t have worked without 

the surprisingly rich musical potential of these 

instruments. Once it’s been tamed, the dot 

matrix printer is capable of producing an 

array of sounds that a composer can really 

sink his teeth into. 

I totally agree that our approach was 

based on diversion. I would add, however, 

that in order to divert an object "correctly", 

you first have to understand the 

normal uses and operation of that object. 

The first texts we printed were simple 

ones, in the form of a paragraph. We soon 

realized that, regardless of the linguistic or 

semantic content of a paragraph, the sound 

produced by its printing would be the same. 

By luck, we discovered that printing an 

entire line made up of a single character— 

no matter which one—led to a stable harmonic 

result…. By varying the number of 

characters or the spaces between them, we 

were capable of controlling the meter, 

the rhythm of the sound. All of these 

principles appear obvious when you 

mention them, but we only managed to 

discover them after experimenting with 

them. This process of learning about the 

object, and learning about its concrete 

physical properties, is what makes it 

possible to divert it successfully. 

You would soon turn your work towards new 

technologies, cell phones and the internet, 

which were just emerging, at the time. 

"Siliphone" was a sound "streaming" project, 

which took place in a highly symbolic 

place, in Montreal... 

It was a logistically complicated, time 

consuming, and expensive project, and yet, 

conceptually speaking, it was incredibly 

simple. Which is why, in fact, Siliphone, 

was so successful. The most important and 

decisive decision we were to make was to 

make sure we didn’t approach the project 

as "auteurs". We decided not to show the 

audience a sound or video recording on 

Silo 5 as a finished product; instead, we 

decided to break down the barrier between 

the creator and the audience. As a result, 

what we brought to Silophone was more 

like the container than the content—the 

major idea being that the development of 

PHOTO © [THE USER]

Coincidence 

Engine Two 

approximate 

demarcator of 

constellations 

in other 

the content shouldn't be in our control, 

and the goal being to see what could be 

sponteously generated by social, musical 

and sound phenomena. Silophone should 

be seen as a collaboration between the two 

of us, who designed and built the instrument, 

and the public, which was invited to 

play it. That perspective, which is fundamental, 

is a reflection of our political 

views, and of our desire to make sure the 

public will continue to have access to the 

building in the more distant future. 

By deliberately setting up a public sound 

space with no rules, no restrictions, we 

were knowingly taking a few risks: lackluster 

content, cacophony, or simply silence. 

But the most gratifying part of this experience, 

was hearing the first shreds of music emerging 

from the noise. 

"Siliphone" is still ongoing today, 

isn’t it? 

Yes, it is. This year will be its tenth year. 

The project was only supposed to last one 

year, at first (it was part of the millennium 

celebrations). However, after that first 

year, it became obvious that we had to let 

it go on. One of Silophone’s defining 

characteristics is its ephemeral quality. 

Although it’s an architectural project, 

there’s no architectonic impact on the 

building, just a sonic, therefore intangible, 

transformation. The electronic equipment 

we installed in the building won’t have a 

lasting impact on it. If we were to remove 

them, nobody would notice it at all… 

Your latest creation, "Coincidence Engines", 

where you replace 100 metronomes with 

1240 alarm clocks, are a homage to the 

composer Ligeti? In a way, there's the same 

aesthetic diversion of the object… 

György Ligeti’s Poème Symphonique for 

100 Metronomes (1962) was already an 

important influence for [The User] 

when we were working on the Symphony 

for Dot Matrix Printers. We really 

appreciate the humorous approach 

used by the Fluxus movement, bordering 

on the hoax, but always with a 

hidden, more serious message, as 

opposed to the contemporary art scene, 

which often seems to lack a sense of 

humor. 

When Ligeti died, in 2006, we returned 

to an idea we’d had before, which was 

to pay homage to the composer. 

Our long established theme, of exploring 

our technological environment and 

society’s relationship with it, we paid 

some attention to how we measure 

time. In addition to the using the diversion 

tactics we spoke about earlier, 

there's another important aesthetic 

factor, which is the concrete. In Ligeti's 

metronome performance, like with our 

dot matrix printers, the physical, almost 

sculptural presence of the objects themselves 

is just as important as the sound 

which they create. 

Even if, theoretically, it were possible to 

simulate a 100 metronome concert by 

electronically multiplying the recording 

of a single metronome, the result would 

be considerably less interesting. 

The same goes for the Symphony for Dot 

Matrix Printers, and even more so for 

Coincidence Engine One: Universal People’s 

Republic Time. It was impossible to 

foresee the result—be it architecturally, 

sculpturally, or acoustically—of putting 

around 1200 clocks in a closed space, 

until it had really been done. Meaning 

that this is a piece that can't be reduced 

to its strict technical or conceptual 

description; you have to experience it 

concretely in order to truly understand 

it completely. 

"Coincidence Engines" is actually a series of 

pieces. As such, it illustrates the continuity 

of your work over time, which has led to the 

evolution of your creations, as we saw with 

"Symphony for Dot Matrix Printers". 

Exactly so. Symphony and Coincidence 

Engines are both a series, families of 

pieces. In my view, using such an approach 

gives you the possibility of exploring a 

given theme from different angles, and 

consequently with greater depth. Even if 

each of the pieces that make up the 

Coincidence Engines series should be strong 

enough to be shown alone, showing them 

together provides the viewer an overview 

of the global evolution of the series. 

So at the heart of Coincidence Engine Two are 

the same clocks used in Coincidence Engine 

One; however, as a result of a major electronic 

alteration, we could make these clocks 

accurate to the thousandth of a second. 

Consequently, there’s an opposition between 

the non-deterministic approach in Coincidence 

Engine One, where we didn’t use any tools to 

synchronize the 1200 clocks – which led to 

increasing discrepancy between the different 

units, and an accumulation of chaos 

throughout the group – and the determinism 

in Coincidence Engine Two, where the movements 

of each clock are minutely synchronized 

by a centralized monitoring system. 

In fact, we’re currently working on Coincidence 

Engine Three, which will synthesize 

the contrasting approaches of the first two 

installments of the series; instead of using 

electronic clocks, we'll return to using 

mechanical metronomes like those used 

in Ligeti's Poème Symphonique. 

LAURENT CATALA 

+ INFO: 

< www.theuser.org > 

< www.coincidence-engines.net> 


RESEARCH BODY>DATA>SPACE 

ROBOTS 

AND AVATARS 

OUR COLLEAGUES AND PLAYMATES OF THE FUTURE 

Robots and Avatars was launched in November 2009 with a Forum at NESTA (National Endowment 

for Science, Technology and the Arts), attended by an international group of 80 experts, professionals 

and young people in London. The programme continues throughout 2010-2011 with educational events, 

an exhibition, a website, vodcasts with key experts, further forums and a book/DVD. 

Images from 

DARE WE DO IT 

REALTIME? 

a performance piece 

created across 

2008 and premiered 

in 2009 


We are moving into an era where technology 

is greatly expanding the possibilities 

of representation, with the physical body 

complemented by a range of virtual identities 

for both work and play. 

How do we establish relationships based on 

trust between virtual representations? What 

issues will we encounter when working with 

avatars and tele-presence? What social 

relationships will be formed between avatars? 

How do we deal with these complex interlocking 

identities? And what do these avatars and 

robots teach us about ourselves? 

These are some of the questions the 

Robots and Avatars programme explores. 

Our aim is not to find definitive answers 

but to sketch out ideas of futures where 

the boundaries between the real, the 

virtual and the robotic are increasingly 

blurred. 

Robots and Avatars provides a unique 

platform for inter-sector and inter-generational 

investigation of our identities in the 

21 st century. The programme brings together 

an international group of people from 

the education sector, creative industries, 

new media, robotics, virtual worlds and 

gaming, work/behavioural psychologists, 

artists and key thinkers about tomorrow's 

workplace. Together we are exploring key 

questions and issues around future forms 

of representation. The programme is 

exploring the identity evolutions of 

today’s younger generations and takes 

new creation techniques of self-representation, 

evolving in the form of robots and 

avatars, to examine the effect of these 

ideas on artistic outputs and working 

modes. Robots and Avatars envisions the 

skill-sets, aptitudes, resources and methodologies 

that will be required by today‘s 

young people who will be at work from 

2020 onwards, taking into account that 

many of the jobs they will do have not yet 

been invented. It also explores potential 

up and coming recreational pursuits, 

social activities and our relationship to 

others online in virtual worlds. 

In February 2010 Robots and Avatars held 

the Collaborative Futures Panel at the 

Kinetica Art Fair in London where 

Ghislaine Boddington, Creative Director 

of body>data>space, outlined some of the 

programme’s key points: "We’re looking 

at avatars, cyborgs, telematic and robotic 

cultures, all of which are representations 

of ourselves in some way, as we move 

forward into a world of multi-identity and 

infinite affinities." 

body>data>space, who conceived and 

co-produce Robots and Avatars with NESTA, 

is a London based design collective 

PHOTOS © JEAN PAUL BERTOIN, R.R.

FLUID SPACES, a 

co-operation between 

body>data>space 

and Kings College 

Visualisation Lab 

engaged in creating fascinating connections 

between performance, architecture, new 

media and virtual worlds. Using our 

own collaboration methodologies and 

networked creation processes, the group 

visions the future of the human body and 

its real-time relationship to evolving 

global, social and technological shifts. 

This focus on the weave of the live body 

in digital interaction reflects on all of our 

own experiences in today’s world – our 

bodies are extending and developing, our 

senses are enhanced, our social and work 

lives are changing through the use of digital 

tools and social media. At the base of 

this is the imperative issue of how we, our 

bodies and minds, affect and influence the 

various realities surrounding us. 

body>data>space prioritise projects with 

cultural exchange and knowledge transfer, 

to look in depth at relationship and multiidentity 

issues. A deeper recognition of 

identity through gesture culture is in 

development through the extensive work 

and play we do in cyberspace. For us the 

future integrates tele-presence, and this is 

why we continue to research and develop 

our telematics and real-time connectivity 

work. What were once esoteric concepts 

are now more or less commonplace thanks 

to tools such as Skype, and Ghislaine 

has suggested that, as a result of communicating 

in this we are making "a shift 

away from the "I"-based thinking we were 

brought up with to a multi-identity 

"we’ based world, which has profound 

consequences for the future". 

body>data>space, 

working with young 

people with telematics 

in workshops 

Orla Ray, our performance avatar and a key 

member of the Robots and Avatars project, 

created by Ivor Diosi 

body >data>space creates unique events, 

installations, forums, educational initiatives, 

architectural builds, research 

projects, workshops, online activities and 

interaction techniques to comment on 

the transformations around us through 

themed based education, art and entertainment 

programmes. Focusing on a mix 

of commercial and socially relevant public 

projects, the group engages in skills 

exchange and knowledge transfer between 

culture, creative industries and the digital 

sector. We often involve the public in 

the creative side of the work, creating 

equal authorship through the participation 

of others. 

Robots and Avatars is supported by a 

number of Project Champions including 

robotics and artificial intelligence expert 

Prof. Noel Sharkey from the University of 

Sheffield, who suggested at the Kinetica 

Art Fair Panel that people stereotypically 

tend to think that "robots will kill us, heal 

us or have sex with us". As a way of refuting 

this notion he coined the phrase 

"Robatars", citing the example of physical 

military drones operating in war-zones, 

yet controlled by operators in the Nevada 

desert, saying that "virtual reality is 

coming into play in a new way, which you 

could call "Real Virtuality" – you’re looking 

at VR in a cocoon, where you can smell, 

touch and so on." During 2010/11 the 

project champions and many others will 

be contributing content to the Robots and 

Avatars blog, as well as appearing a 

various panels and a Forum. 

Onwards we go - 3G/4G, GPS, locative 

medias, mobile technologies, wireless 

interactivity, holograms, 3D projection 

systems and expanding virtual worlds all 

hint at the next forms of representation 

of oneself and others. Multi-identity 

is part of today’s world, and a mix of 

vis-à-vis engagement and tele-presence 

is an ongoing part of the world of work 

and play. Collective collaborations 

onwards will involve teams mixing live 

presence, tele-presence, avatars in 

virtual worlds and robots, all 

co-creating together. 

So what happens when your avatar makes 

its own avatar, when your robot has a 

relationship with your avatar? Those are 

the next questions…………………. 

We will continue to bring together inspired 

people and organisations to further 

explore Robots and Avatars and questions 

surrounding new representational forms 

in virtual and physical space and we 

would very much welcome new collaborations 

and inputs into this fascinating 

and fertile discussion. If you think you 

would like to get involved with Robots 

and Avatars please do get in touch by 

emailing hello@robotsandavatars.net or 

going to www.robotsandavatars.net. 

GHISLAINE BODDINGTON, ALEX EISENBERG, 

LEANNE HAMMACOTT 

BODY>DATA>SPACE WITH NESTA 


ARTIST JACQUES PERCONTE 

JACQUES PERCONTE, 

French artist Jacques Perconte initiated in 

2003 a series of digital "films" that explore 

the landscape, and above all its image; 

the series will its sixth offspring this year, 

"Impressions de", a reference and reverence to 

the Impressionists, for his aesthetic has always 

been—incidentally—compared by critics to 

their own. How could it not be? 

uaonen (2003) 


Indeed, through a meticulous and craftsmanlike 

work of multiple compressions, 

collages and superimpositions, Jacques 

Perconte tells the story of the structural 

and vibrating pixelation that gives a new 

formal expression to every single change 

of light and wind, which, among others, 

gently animate his video landscapes. 

As the Impressionists once used short and 

broken brush strokes of unmixed colors 

to translate in plastic terms the light and 

heat that shaped in time that one landscape, 

Jacques Perconte uses the very imperfections 

or aberrations—one might say in an era 

that praises for higher and higher definition—of 

his images that he subjected to a 

THE DIGITAL 

IMAGE, AND THE 

SUBLIME 

tremendous loss of data. "A bug isn’t a 

mistake for the program, it shouldn’t be 

one for me", he says. 

At the source of every film of the series is a 

fortunate promenade, for the artist travels 

often with a camera at hand, like the 

Impressionists with their paint tubes and 

easels. For Impressions de (2010), Jacques 

Perconte is currently collecting images in 

Normandy, while going on a pilgrimage 

that follows the late nineteenth century 

painters’ trail. All the other films — 

uaonen (2003), uishet (2007), Pauillac- 

Margaux (2008), Le passage (2009), and 

Après le feu (2010)—were shot while in 

transit, from the window of a train, a car, 

or even while sailing. Whatever special 

and romantic connection Jacques Perconte 

may have with the nature unfolding before 

his eyes at the moment of recording, the 

digital narrative behind the moving 

landscape unveils itself back in his studio, 

day after day, compression after compression, 

aberration after aberration, layer after 

layer, until the artist’s instinct and sensibility 

tell him it’s there. What’s there? 

"The scenarios of my films are dictated by the 

geography of the landscapes, as well as the 

story that unfolds during their perception. 

In a way, they are promenades. The narration 

settles in the transformations the image suffers. 

First and a priori naturalist, it emphasizes the 

landscape, its plasticity, and then it becomes 

less objective, maybe more impressionist. 

Light draws, color magnifies, matter 

prevails, and finally the landscape slowly 

becomes abstract. Familiar at first, it 

becomes an expressive and mental space." 

(Jacques Perconte) 

Thus, in each of his films the narrative is 

the story of a whimsical and progressive 

shift from the initial impression of the 

landscape the artist once contemplated 

through his viewfinder to its digital 

expression on the computer screen 

through bursts of colorful and swarming 

pixels; from the flat surface and appearance 

of a video image to the organic and plastic 

richness that is hidden behind the thin 

veil of high-definition; from Naturalism to 

Impressionism, and even to some extent 

Fauvism if we shall pursue this game of 

incidental comparisons; from the original 

perception and recording to the infinitely 

imaginary the picture may therefore 

convey through the spectators’ eyes. 

"We no longer see the image of the landscape, 

we see the landscape of the image", 

the artist says. 

The progressive abstraction of the image 

within itself after the systematic exposure 

of its original and natural referent, a real 

landscape that gave birth to each film of 

the series, is in fact what allows the very 

image to be a mental space: slowly loosing 

its grip on reality, the motion picture 

becomes a landscape of its own and its 

narrative, even though it imposes itself 

© JACQUES PERCONTE / R.R.

Après le feu 

(2010) 

magnificently, is neither dictatorial nor 

conceptual, nor even overly technical 

(contrary to its long and drawn-out production). 

It is only natural for the viewer 

to extend Jacques Perconte’s films with 

his/her own memory and imagination, 

since they don’t pretend to do anything 

but cradle our sensibility, maybe our sense 

of Beauty. To some extent, the experience 

is close to listening to music. Flânerie may 

be the only watchword. 

With Après le feu (2010), which originated 

during a trip in Corsica ‘after a wildfire’, 

Jacques Perconte has opened a new symbolic 

dimension to his landscapes. 

As we saw earlier, the artist works and 

experiments in communion with the 

hazardous results that the programs of 

data compression he uses may render. 

For his last film, while carefully collecting 

and combining during the process waves 

of bugs or aberrations in his images, he 

managed to create the illusion of a depth 

in his scenery that simply didn’t exist in the 

original Corsican landscape. On screen, to 

a valley seemingly following the course of 

the train, from the back of which the artist 

stood to record images, progressively 

succeeds a tremendous, vertiginous, 

pixilated, and vivid gap under the tracks. 

In other words, while slowly turning its 

focus from the outward to the inward, 

from the perceived landscape to its digital 

expression, the image literally and radically 

rewrote its natural topography to tell an 

entirely new story. Yet and to top it all, 

from the beginning to the end, the film 

never completely ceases to depict nature 

for all the alienating pixels remain 

connected to what was once the shimmering 

light hitting the leaves of a tree. 

Nonsense? 

The magic tricks of Jacques Perconte 

caused the image of Après le feu not only 

to go free, dethroning Mother Nature for 

the Grotesque, but also to go mad! During 

the process, it has gained a soul and it is 

willing to reinterpret drastically our 

perceptions against our senses—the empirical 

experience of the outside—while 

throwing us in its infinite and inexhaustible 

variable body. It takes us on a fantastic 

ride to inspire in us an overwhelming 

sense of the Sublime. If Jacques Perconte’s 

series of sceneries may be close to the 

aesthetic of the Impressionists, incidentally 

his landscapes could not be more 

Romantic, for their Beauty always remains 

"connected to the form of the object", 

which is actually represented by a 

"boundlessness" (Immanuel Kant, Critique 

of Judgment, 1790). Jacques Perconte 

somehow managed to reconcile the Beauty 

with the Sublime in his digital flâneries 

against the current ideal and understanding 

of high-defined perfection. Far again from 

being received as cold, conceptual and 

overly technical, his digital abstractions 

vibrate, feel and provoke us. 

BY VIOLAINE BOUTET DE MONVEL 

+ INFO: 

< http://jacquesperconte.com > 

uishet 

(2007) 

Le passage 

(2009) 


ARTIST OLGA KISSELEVA 

WJ-SPOTS PRESENT 

OLGA KISSELEVA 

WJ-SPOTS is a project that was 

conceived of and designed by media curator 

Anne Roquigny, in which artists, critics, 

thinkers, inventors, researchers, curators, 

organizers and producers of cultural events 

are invited to look back on 15 years of Internet 

history. Olga Kisseleva was invited to answer 

5 questions about her artistic practice. 

Olga Kisseleva 

artist and researcher 


/ Seismic and quantum art pioneer, 

digital artist for the past 15 years, Olga 

Kisseleva heads the Art et Innovation 

(Art and Innovation) program of the 

Art et Science de l’Art (Art and Science) 

Master’s Degree Program at Paris 1 

Pantheon Sorbonne University. 

// Unlike video, whose place in 

contemporary art today is well recognized, 

some clarifications are in 

order before looking at network art. 

There are still quite a lot of expressions 

that are used to talk about on 

line creation: art works on line, 

web-specific art, web art, network art, 

net art, net.art, Internet art, cyberart, 

etc… 

Historically speaking, they don’t refer 

to the same things. The terms "net 

art" or "net.art" are more often used 

to describe artistic practices on the 

Internet. "Web art" seems rather limited 

because it only includes work that 

takes the form of Internet sites. As for 

"network art", it speaks to many different 

artistic practices, both analog 

and digital. And cyberart englobes all 

art work created or present in cyberspace, 

in other words generated with 

or generated through the computer. 

The term "net.art" actually refers to a 

very specific current of online art, its 

activist bent, or its "heroic period", 

as per the online exhibit of the same 

name, organized by Olia Lialina, 

journalist and net-hacktivist. Since the 

early 1990’s, along with Jodi, Vuk 

Cosic, Alexei Shulgin, Heath Bunting, 

Natalie Bookchin and other online art 

pioneers, we’ve been working to 

invent the language and rules of this 

art, which is inextricably linked to the 

development of Internet itself. 

The meaning of Net.art has since 

expanded beyond that referred to in 

the works of the members of our 

group. Even though a few online 

projects had already been created, 

there was no common terminology 

being used to talk about art created 

with the Internet when Net.art appeared. 

Art created with Internet was simply 

called "media art" or "digital art", 

expressions that don’t take into 

account issues related to networks. 

/// With net.art, art work is created 

within the physical space of the network, 

but in fact it’s the network itself 

that is transformed into a piece of art. 

For the artist, virtual space is a space 

of expressive freedom where all the 

traditional configurations of content 

can be brought into play. Internet 

brings to life new social, technical 

and artistic practices: an art that does 

without mediation between the artist 

and the surfer, an art which is based 

on information, and not the object. 

By rigorously establishing how this 

information "format" is becoming an 

art "form", artists are making the 

virtual space their own. 

Because it is made up mainly of 

images and texts, the Net is grounded 

on one of the most ancient forms of 

communication; yet, net.art is a product 

of the world of useful objects, 

and, unlike artist’s books, it has led to 

a technological turning point for art. 

Artists have been using the potential 

of the network (decentralized information, 

rhizomic rather than hierarchical 

processes, etc.) to experiment 

with a variety of technological, as well 

as social, codes. 

This Internet-specific art form 

includes art work created for, on, or 

with Internet… and not just any piece 

of work you can find, whatever its 

form, on the net. Net.art pieces can be 

seen at any given time by any computer 

connected to the net. They can be 

affected by the viewer, integrate 

hyperlinks, and can include texts, 

animated or non-animated images, 

sound, data bases, etc. They can also 

be connected to installations or 

systems in physical places. 

PHOTOS © R.R.

Today, artists are interested in the 

applications of locative media, as well 

as questions of energy, electromagnetic 

fields and the consequences of timespace 

curvature. Independently 

of any direct collaboration with 

scientists, avant-garde artists of every 

era have been confronted with the 

progress of science and technology, as 

well as that of the languages that are 

inevitably created by their use. 

Nowadays, those same kinds of artists 

continue to search for artistic opportunities 

inherent to scientific discovery, 

and potential combinations and 

hybridization between art and science. 

The sciences have an active influence 

on art, but the sciences are also 

decrypted, explored, diverted and 

influenced by artists. 

Certain innovative theories, like 

quantum-gravitational theory, string 

theory and its ramifications signal a 

new way of viewing and describing 

the world… Just like physicists, some 

artists try to interpret the 

infinitely big, while others base their 

art work on the infinitely small. 

The epistemological approach and 

the artistic means used by artists to 

achieve these goals will differ radically. 

INTERVIEW REALIZED BY ANNE ROQUIGNY, 

DURING WJ-SPOTS#1 IN PARIS. 

ABSTRACT FROM THE SPECIAL ISSUE 

PUBLISHED BY MCD IN SEPTEMBER 2009: 

WJ-SPOTS#1, 15 YEARS OF ARTISTIC 

CREATION ON THE NET, 

AVAILABLE ON: WWW.DIGITALMCD.COM 

screen shots from 

Olga Kisseleva website 

///// 

< http://www.kisseleva.org/project/projecthay.htm > 

< http://www.kisseleva.org/project/projectconnect.htm > 

< http://www.panoplie.org/old/silence2/olga/frameolga.htm > 

< http://www.kisseleva.org/project/projectconquistadores.html > 

< http://kisseleva.free.fr/project/images/conquistadores/video_russia3.swf > 

< http://www.kisseleva.org/project/projectinvisible.html > 

< http://www.kisseleva.org/project/projetutor.html > 

< http://www.kisseleva.org/project/projectfitness.html > 

< http://www.kisseleva.org/project/projectbike2.htm > 

< http://www.kisseleva.org/project/projectland.htm > 

< http://www.rhizome.org/ > 

< http://twitter.com/ > 

< http://www.facebook.com/ > 

< http://www.google.com > 

< http://www.e-flux.com/ > 

< http://www.e-artnow.org/ > 


EVENTS COMING SOON 

(AGENDA) 


april 2010 

FESTIVAL ELECTRON 

Genève, Switzerland 

April 1 st to April 4 th 

 

VISUAL SYSTEM EXHIBITION 

Bethune, France 

April 2 nd to July 11 th 

 

GREGORY CHATONSKY EXHIBITION 

Toulouse, France 

April 7 th to April 30 th, Centre Culturel Bellegarde 

April 6 th to April 9 th, and April 26 th to April 30 th, La Fabrique 

April 8 th to April 24 th, Lieu Commun 

 

FESTIVAL EMPREINTES NUMERIQUES 

Toulouse, France 

April 7 th to April 10 th 

 

HIPERFICIES 

Elias Crespin’s Solo exhibition. Ars longa. Paris. 

April 7 th to May 8 th 

 

FESTIVAL NEMO 

Paris, France 

April 8 th to April 17 th 

 

PRINTEMPS PERFUME 

Group Exhibition realized with the Seoul art center Nabi. Art center. 

Enghien les Bains, France 

April 9 th to June 30 th 

 

ART OUTSIDERS FESTIVAL 

Servulo Esmeraldo’s Solo exhibition 

April 14 th to June 13 th 

 

STÖRUNG FEST 5.0 

Barcelona, Spain 

April 21 st to April 24 th 

 

"PROCESS IS PARADIGM" IN LABORAL EXHIBITION, 

Gijon, Spain 

april 23 rd to sept 27 th 

 

may 2010 

FESTIVAL ELEKTRA 

Montreal, Quebec, Canada 

May 5 th to May 9 th 

 

FESTIVAL MAPPING 

Genève, Switzerland 


 

NUITS SONORES 

Lyon, France 


 

>>>

may 2010 >>> 

FESTIVAL DISSONANZE 

ROMA, ITALY 

May 21 st to May 23 th 

 

MOIRÉ 

Carsten Nicolai’s Solo exhibition 

The pace gallery, new york, usa 

May 21 st to May 25 th 

 

EDUARDO KAC SOLO EXHIBITION 

DAM Gallery, Berlin, Germany 

May 28 th to July 17 th 

 

june 2010 

FESTIVAL MUV 

Firenze, Italy 

June 1 st to June 6 th 

 

FESTIVAL SECONDE NATURE 

Aix-en-Provence, France 

June 2 nd to June 12 th 

 

FESTIVAL MUTEK 

Montreal, Quebec, Canada 

June 2 nd to June 6 th 

 

PANORAMA 12 

June 5 th to July 25 th 

Tourcoing, France 

 

FESTIVAL AGORA (IRCAM) 

Paris, France 

June 7 th to June 19 th 

 

FESTIVAL BAINS NUMÉRIQUES #5 

Enghien-les-Bains, France 


 

FESTIVAL SONAR 

Barcelona, Spain 


 

FESTIVAL OFFF 


Paris, France 

 

FESTIVAL CITY SONICS 

Mons, Belgium 

date to be announced 

 

EVENTS COMING SOON 

(AGENDA) 


WHO’S 

Digitalarti Mag 

Digitalarti is published by 

Digital Art International. 

CHIEF EDITORS : 

Anne-Cécile Worms, 

< acw@digitalarti.com > 

Malo Girod de l’Ain, 

< malo@digitalarti.com > 

Julie Miguirditchian 

< julie@digitalarti.com > 

WRITERS: 

Dominique Moulon, 

< dominique.moulon@gmail.com > 

Laurent Catala, 

< lcatala@digitalmcd.com > 

Anne Laforet 

< http://www.sakasama.net > 

Aude de Bourbon Parme, 

< www.digitalarti.com/fr/blog/adbp > 

SPECIAL THANKS TO OUR PARTNERS: 

Eric Foulon , from Muuuz, 

< www.muuuz.com > 

Ghislaine Boddington, Alex Eisenberg, 

Leanne Hammacott 

< http://wwwbodydataspace.net > 

Violaine Boutet de Monvel 

 

Anne Roquigny, WJ’s 

 

TRANSLATOR: 

Mohamed Oummih 

< oummihtrad@gmail.com > 

MARKETING & ADVERTISING: 

Julie Miguirditchian 

< julie@digitalarti.com > 

COMMUNICATION: 

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ART DIRECTOR: 

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< antoine.leroux@autrementledesign.fr > 

GRAPHIC DESIGNER: 

Yann Lobry, 

< ian@digitalmcd.com > 

ADDRESS: 

Digital Art International, 

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E-mail: info@digitalarti.com 

Site: www.digitalarti.com 

Cover : © EDUARDO KAC, Cypher / R.R. 


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