Call lyrics for the Real-Virtual Journal No. 3
After interviewing digital as texture in its handy extension (No. 1) and the virtual in relation to the context of the everyday (No. 2), the online journal Real-Virtual proposes to rethink the "new technologies" through the concept of " Archaeology. In addition to updating their research innovative specificity, this third edition test the hypothesis of a recent grounding of these devices, beyond the limits of the contemporary era. This question is open reflections multidisciplinary and will be particularly informed by references to artistic approaches to both contemporary and not current, making visible links with other times.
"Archaeology" is derived from the Greek Arkhe , which means origin: both the point of beginning, end, the principle , which contains in itself its upcoming deployment, and command, the sovereign power, which sets the laws, which is authoritative. The archaeological perspective and presents his subject, questioning its relationship to time, its essentiality, and what determines its layout. How can we expect an archeology of new technologies which, by its very name, are defined present in a break with the past, and who disclose as simple praxis?
But in a number of artistic approaches, it appears that the stories, theories and observations on the origin of man are reinvested by the use of new technologies. Understand how such a work of Bill Viola where biblical scenes are revisited throughout the videographic slowed, that of Daniel Lee refigure the evolution from animals to humans through the hybridization of photographs, or the seams cell Nicole Tran Ba Vang manipulations that evoke it operates pixels on the screen? According to Agamben, the contemporary, whose posture is exemplary of the artist, is defined by a look out of touch, untimely, which detects the signs of this archaic taking the original meaning in the making. So rather than diversions, such references in earlier times would they reveal what is essentially at work, more subtle or invisible in the new technologies? How far can we extend the approach Couchot, which traced the history of technology in art, linking the virtual reality the prospect Albertian?
Despite an apparent break with the past, new technologies so they could start thinking in relative regularity? Following a Foucauldian archeology, can we discover deep strata discourse? How to question their emergence, their positivity, their power of repetition and weathering processes? The challenge is to redefine the new technology by updating the broader context in which they operate: without obscure the specific, the research will attempt to identify anchorages and to clarify the details. For example, starting from the Optical timeline Tony Oursler, to what could trace their beginnings story? The study of prototyping Michael Rees, inspired Hindu mudra as putti of the Renaissance, she would detect trends that run through timeless, even driving them? Would they also deploying a human essence, as suggested by the "portraits" of synthesis Catherine Ikam giving a new face to the themes of the report to another and identity? New technologies do they fit in a time when continuous or discontinuous, dynamic or static, linear, cyclic, or spiral, or crumpled (Serres)? Can they apply to the images as an anachronistic epistemology (Didi-Huberman)? They will prove to update (Deleuze), survival (Warburg), trace (Derrida), ruin (Benjamin), resonance (Bachelard) or symptom (Freud)?
> the journal site
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