here in french (tek) and english (isa.p)


Phase / stage 1.0

The light which goes from the pattern to the camera, from the camera to its reproduction, from its reproduction to its interpretation. Technological generations. This time which is fixed on the picture is a time of the medium.

1.2

The body is no more than an information we are able to treat / deal with and change / twist. We are free to choose the flesh which is going to cover it, so then it becomes video body or digital body. " I'lltalk of bodies changed in new foms " Ovid, Metamorphosis.

2.0

These computer sequences / strings are put on a http server. They are available for consultation through Internet links. The number of simultaneous users is unlimited.

These sequences are made of series of fixed pictures itemized in micro databases which are stocked on the server.

These pictures are collected in an unique and methodical serie in which we can find all the informations aseful to its accomplishment via a network.

The soundtracks come from samples made of diverse sounds / noises.

Some animate sequences on a web and refilmed during http connections. Some fixed pictures animate by a virtual engine in a space far away from their origins.

Some fixed pictures reanimate by a routine, replaced according to methods of chance in a sequential and repetitive movement. A movement modified in turn by algorithms interpreted by the navigator.

These pictures come from micro databases formed / made of by series of video images often marked by digital stigmata / marks which are traces of time that the mediumlet during the catching.

The installation dispositive which refilms and interprets them, transform them once again following digital and analogical processes predefined in the shape of the equipment used.

The http server reacts at each connections by initialising the class java which are going o twist , break up and cut the orderly pictures in digital series.

These class, series of programmed algorithms studied for these goals, will have an important consequence on the result.

The results / achievements of the active sequence depend upon the state of occupation and capacities of the client system.

The sequences need time in order to reach the client set. They succeed in, pictures by pictures, before being virtually stocked in the 'memory' space allowed by the receiving engine.

When done, the sequence can last as long as the user will allow it / want.

The sequences do not have any time limit. Any break of action is due either to the system (network cutting, lack of engine ressources) or to the user's will.

The network promptings of the server reduces / gears down the number of possible time to the sequence.

The digital representation allows to never modify the informative reality of the picture.

We produce a multiplicity of distortion according to the same schema of principles.

The information which sets up the pictures which we can guess thanks to their distortion, is stocked in its simplest form, reduced / limited to values without approximation.

Phase 3.0

Laissez les tons être balayés / frôlés / brossés dans l'existence. 99 sequences open the last sentences of the digital bodies. One last sequence named 00.000.0 will definitively stop the coming flow / flood. Fin of the stocks of trames, the end of the texte.

First steps to the pictures, from the picture to the information, from the information to the pattern. Some memories, some pictures which get loose from / renouce from / come off their context, partly restored to some temporalities which flow is modified by the medium they've known, they've met and which marked them of stigmatas / marks which tell about them.

They spread out so well.

Le temps est un espace. L'image est un souvenir relating to the reality to the non reality, to both. We see in it a kind of demonstration of time with its layers / tableclothes and its plans. Those pictures, those bodies get loose from their support and go through time. They only exist when we watch them. They only move when we think of them.

From flesh to matter. From matter to the pixel. From the pixel to the pattern. From the pattern to the memory. From the picture to I yesterday to the one which holds me now.

The temporal flow which carries / bears / holds the digital picture is confused. It's a serie of fixed moments in the instant when they appear, but it's possible to navigate (to move in the work we're visiting) as well to the present as to the past. There isn't fixed chronicity.

Referentiel time / length which is absolute (calculation on a digital scale which the base is the 2nd) the relative times found in the physic experience of the visited work are not at the same scale than the time spread out by the work itself.

Work which needs millions of calculations by seconds, which spreads out in unbelievable places. The scale of perceptive time is relative to the level of perception which we've of the interface. Temporality of the experience is relative to the quality of the object. The object we are téalking about is digital, uchronic. Time stretches out / sprawls in all directionsand pictures go through it without nothing happening to our scale. I love them.


___________///////:engl.

Phase / stage 1.0

The light which goes from the pattern to the camera, from the camera to its reproduction, from its reproduction to its interpretation. Technological generations. This time which is fixed on the picture is a time of the medium.

1.2

The body is no more than an information we are able to treat / deal with and change / twist. We are free to choose the flesh which is going to cover it, so then it becomes video body or digital body. " I'lltalk of bodies changed in new foms " Ovid, Metamorphosis.

2.0

These computer sequences / strings are put on a http server. They are available for consultation through Internet links. The number of simultaneous users is unlimited.

These sequences are made of series of fixed pictures itemized in micro databases which are stocked on the server.

These pictures are collected in an unique and methodical serie in which we can find all the informations aseful to its accomplishment via a network.

The soundtracks come from samples made of diverse sounds / noises.

Some animate sequences on a web and refilmed during http connections. Some fixed pictures animate by a virtual engine in a space far away from their origins.

Some fixed pictures reanimate by a routine, replaced according to methods of chance in a sequential and repetitive movement. A movement modified in turn by algorithms interpreted by the navigator.

These pictures come from micro databases formed / made of by series of video images often marked by digital stigmata / marks which are traces of time that the mediumlet during the catching.

The installation dispositive which refilms and interprets them, transform them once again following digital and analogical processes predefined in the shape of the equipment used.

The http server reacts at each connections by initialising the class java which are going o twist , break up and cut the orderly pictures in digital series.

These class, series of programmed algorithms studied for these goals, will have an important consequence on the result.

The results / achievements of the active sequence depend upon the state of occupation and capacities of the client system.

The sequences need tiome in order toreach the client set. They succeed in, pictures by pictures, before being virtually stocked in the 'memory' space allowed by the receiving engine.

When done, the sequence can last as long as the user will allow it / want.

The sequences do not have any time limit. Any break of action is due either to the system (network cutting, lack of engine ressources) or to the user's will.

The network promptings of the server reduces / gears down the number of possible time to the sequence.

The digital representation allows to never modify the informative reality of the picture.

We produce a multiplicity of distortion according to the same schema of principles.

The information which sets up the pictures which we can guess thanks to their distortion, is stocked in its simplest form, reduced / limited to values without approximation.

Phase 3.0

Laissez les tons être balayés / frôlés / brossés dans l'existence. 99 sequences open the last sentences of the digital bodies. One last sequence named 00.000.0 will definitively stop the coming flow / flood. Fin of the stocks of trames, the end of the texte.

First steps to the pictures, from the picture to the information, from the information to the pattern. Some memories, some pictures which get loose from / renouce from / come off their context, partly restored to some temporalities which flow is modified by the medium they've known, they've met and which marked them of stigmatas / marks which tell about them.

They spread out so well.

Le temps est un espace. L'image est un souvenir relating to the reality to the non reality, to both. We see in it a kind of demonstration of time with its layers / tableclothes and its plans. Those pictures, those bodies get loose from their support and go through time. They only exist when we watch them. They only move when we think of them.

From flesh to matter. From matter to the pixel. From the pixel to the pattern. From the pattern to the memory. From the picture to I yesterday to the one which holds me now.

The temporal flow which carries / bears / holds the digital picture is confused. It's a serie of fixed moments in the instant when they appear, but it's possible to navigate (to move in the work we're visiting) as well to the present as to the past. There isn't fixed chronicity.

Referentiel time / length which is absolute (calculation on a digital scale which the base is the 2nd) the relative times found in the physic experience of the visited work are not at the same scale than the time spread out by the work itself.

Work which needs millions of calculations by seconds, which spreads out in unbelievable places. The scale of perceptive time is relative to the level of perception which we've of the interface. Temporality of the experience is relative to the quality of the object. The object we are téalking about is digital, uchronic. Time stretches out / sprawls in all directionsand pictures go through it without nothing happening to our scale. I love them.