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CAVE TO CLOUD: THE EVOLUTION OF THE IMAGE
- 1. CAVE TO CLOUD: THE POST-IMAGE - - - - - - - - - - - - - - - - - - - - - - - - - - - ESAD, Amiens - - - - - - - - - - - - - - - - - - - - - - - - - - - Erik Adigard / M-A-d
- 2. THE AMERICAN BLITZ (a trumpandemic)
- 3. THANK YOU FACEBOOK. THANK YOU IMAGE. THE AMERICAN BLITZ
- 4. “the top 20 accounts, which were mostly bots and highly automated accounts, averaged over 1,300 tweets a day and they generated more than 234,000 tweets,” _NYTimes, 17/11/16
- 5. M-A-d_FR
- 6. M-A-d_US
- 10. il n’y a pas de creation possible sans maîtrise du contexte
- 13. Nous substituons le management par la vitesse. Dans ce monde il vaut mieux avancer vite que de bien gérer. _Paul Saffo
- 15. 1, 2, 3 4
- 18. a clip randomly mixing M-A-D projects https://youtu.be/NWlgbmDHjUM
- 19. LE DESIGN EN 1992 c’était déjà une économie post capitaliste et la culture des createurs en réseau RETOUR EN ARRIÈRE
- 22. the WIRED magazine narrative: “a digital revolution” FOCUS ON THE WORLD FOCUS ON THE SELF
- 38. WIRED DATABASE SCREENSAVER POINTCAST WIRED FEED LIVEWIRED
- 41. branding dans l’ère de l’anthropocène
- 43. VENICE BIENNALE AIRXY CLIP https://vimeo.com/15070340
- 45. de tout ce qui nous entoure à tout ce que nous contenons (emergence du “user”) CHANGEMENT DE PARADIGME 2008 FOCUS ON THE WORLD FOCUS ON THE SELF
- 47. QUESTION D’IMAGE
- 48. ISEA, HONG KONG COUNTERPOLIS CLIP https://vimeo.com/15070340
- 49. Colosseum Pantheon Sistine Chapel IM PO RTIN G culture from G reece, Egypt and Palestine. EXPO RTIN G im age through art, cinem a, internet & tourism
- 50. < universel (120) < divin (1510) < territorial (80AD) acte 2
- 51. We see and memorize what we encounter by making captures and by sharing them with others, as if building a collaborative memory. Icons inspire contemporary narratives, hence finding life expansion in the realm of fiction. Fiction enhances but also blurs history. There are remote creations that do not need to be visited to be seen. They are seen, as so many fragments through remote captures made by others. Icons exist in fixed physical places and yet, when captured, they are resettled in new virtual spaces where their presence can be augmented or reduced. Icons are attached to history, they own known or discovered history. History reinforces fiction as much as it counters it.
- 52. from PIGMENT to CAVE to IMAGE to CLOUD (a 400myr evolution) THE POST IMAGE
- 53. 35kBCElCastillo&Lascaux ◊ 0YinYang 200ChristianCross 1919Bauhaus 1940’sEames 1943IKEA ◊ 1976ILoveNY 1077BayeuxTapestry 1511Michelangelo’sCreationOfAdam 1917ReadyMade ◊ 1996Cropcircles 1100’s Oil paint 1924 Surrealism 1960’s Minimalism 2003 Second Life 1483 Sistine Chapel 1995 Parthenon, Nashville 1996 Google 2010 Internet surpasses newspapers in the U.S. 1434TheArnolfiniMarriage 1870’sImpressionism ◊ 1984Macintoshcommercial◊ 1967Deconstruction 1967SummerofLove 100kBC pigments ◊ 1837Daguerreotype ◊ 1895Movieprojection 1971Email 1947PrimetimeTV ◊ 20123billionYouTubeviews/day 7,000BC Sundial 6,200BCMaps ◊ 1503ProportionsofMan 1931LondonUndergroundmap ◊ 1994EarthViewer 1286Eyeglasses 1879Electriclightbulb ◊ 1888ConsumerCamera 1950Remotecontrol 1950’sContactlenses1818Frankenstein ◊ 1933Superman 1979PumpingIron ◊ 1986BurningMan 2013Appleishighestvaluedcompany 80Colosseum ◊ 126Pantheon ◊ 1931LasVegas ◊ 1960’sArchigram 1989virtualreality ◊ 1989WWW ◊ 2010Instagram 500,000BC silex 1335mechanicalclock 1983Swatch 1965touchscreen 1976AppleComputer 1993Newton 2007iPhone 1504 David’s Hand 1969 Concorde 1953 First LSD trip 1957 Subliminal Advertising 1889 photobooth 1947 Polaroid 1968 Woodstock 1969 Smiley 3,300BCHieroglyphics 1896Psychoanalysis 1950Compiler 1954Fortran 1995Java 1985AdobePostscript 2001Processing 45kBCPetroglyphs ◊ 4,000BC Papyrus 100Paper◊ 1048Moveabletype 1453PrintingPress ◊ 1920’sBillboards 1944Photocopy 1413 perspective 1485 anamorphosis 1862 Dollar bill 1951 Credit Card 50kBC Burialmounds ◊ 450BCParthenon ◊ 1230GreatCathedrals ◊ 1998Petroniastowers 2008 BurjDubai 1516 Utopia 1993 Luxor Casino, Las Vegas 1500 Palmanova 1811 Manhattan street grid 1980 Vietnam Veterans Memorial 1997 Bilbao’s landmark 1976 Centre Pompidou 1904 Timesquare 1945 Atomic bomb 1960’s M.A.D. doctrine 2,630BC Great Pyramids 1889 Eiffel Tower 1980 CNN 1981 MTV 2005 YouTube 1885 Motorwagen 1913 The Rite of Spring 1970’s Tagging 2010 iPad 1928 Mickey Mouse 1959 Barbie 1961 Ken SPACES SYSTEMS DEVICES MEDIA ICONS ARTS
- 54. 2. the CONTENT how does it mean? 0. Les Epoux Arnolfini 1. Jan van Eyck 2. 1434 3. scène d’intérieur avec double portrait 4. huile sur panneau de chêne 5. 82.2 × 60 cm 6. primitif flamand 7. volets et cadre perdus 8. National Gallery, Londres 9. inventory #186 etc. Image begins and ends with a frame.
- 55. super thin mirror under test @ ESO
- 56. creates ow ns affects DEFINITIONFACTORS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • TYPES carving mosaic painting engraving photo drawing painting photogram sculpture object model stage architectural hologram dataviz animation film video 3D ultrasound map ICON MODALITIES REPRESENTATION SUBJECTIFICATION MYSTIFICATION SIGN CAPTURE SCOPE DE-MYSTIFICATION COMMODIFICATION ATOMIZATION inverse archeology EMBODIMENT SURVEILLANCE digital AR app optical device reflection FACTORS function AUTONOMY ACCUMULATION genesis taxonomy ontology referencing/logic il-literacy trans-cultures POVs emotions sight emotion/faith impulse temporatility science AGENTS Creator user client/commissioner subject artist vs. designer curator patron/sponsor licensee custodian critic/historian archivist conservator publisher lawyer tool makers entrepreneur archaeologist neurologist sociologist optician psychologist politician EXPRESSIONS empirical authentic misleading meaning poetic/aesthetic iconic ritualistic civic impulsive lyrical expressive emotive seductive seismic invasive lethal latent/liminal vibrant decayed ruined DYNAMICS DISSEMINATED APPROPRIATED ATOMIZED VIRTUALIZED replicated projected broadcasted mobile urban interactive edited/retouched restored copyrighted sanctified shared indexed archived programmatic relational METABOLIC iterative generative fragmented
- 57. le mystère de l’image
- 58. 1. PRIMARY CRITERIA what is it? To control an image is to control its subject.
- 59. A SIGN it may be a message, a tag or a commentary HELLO I am Neanderthal
- 60. A REPRESENTATION it may be journalistic: a portrayal or depiction
- 61. A SUBJECTIFICATION it may be discursive or scientific
- 62. A MYSTIFICATION it may be confounding & manipulative
- 63. A MYSTIFICATION it may be confounding & manipulative
- 64. A CAPTURE by an optical, electronic or programming device
- 65. 3D PRINTING 2. NEW CRITERIA how does it change? There’s always been a network connected to an iconic image. _Ben Cerveny Il y a un reseau connecté pour TOUTES les images.
- 66. DE-MYSTIFICATION
- 67. DIMENSION
- 68. SURVEILLANCE
- 69. AI = ARTIFICIAL IMAGE
- 70. 3. the ECOLOGY how does it live? There’s always been a network connected to an iconic image. _Ben Cerveny Il y a un reseau connecté pour TOUTES les images.
- 71. ACCUMULATION
- 72. DISSEMINATION
- 73. 4. METABOLIZATION les images existent comme des organismes Le paysage des outils génératifs révèle un nouveau language dont les composants sont á la fois visuels et verbaux._Noam Chomsky
- 74. ATOMIZATION
- 75. BIG DATA
- 76. AI+BD = VIRTUALIZATION (VR + MR)
- 77. THE BOT-TERFLY EFFECT STARTS WITH AN IMAGE
- 78. 5. ALTERIMAGE la representation est d’abord une question de language
- 79. 5. ALTERIMAGE la representation est d’abord une question de language
- 80. POST IMAGE: 1. constitue un nouveau type de SINGULARITE (choses symboliques) 2. privilégie UTILISATEURS & INTERFACES (aime être ICONIQUE) 3. fonctionne en tant que PROCURATION de gens & fonctions 4. est CODIFIEE et distribuée en RESEAUX 5. est AUTONOMIQUE & METABOLIQUE 6. est ATMOSPHERIQUE et répond à des lois “écosophiques 7. constitue une COSMOLOGIE de “conglomerations nucléaires” 8. indique l’émergence du SUJET BIOMETRIQUE ET 9. INNOVANTE POST IMAGE:
- 81. ACCUMULATIONS
- 83. SIMAGE SIMAGEIMAGE SIMAGE SIMAGE ws story ientific cord pture mmerce tion hoto reen atue ologram ws story ientific cord pture mmerce tion meras irrors lescopes icroscopes ater surfaces. ap aph e chart straction awing ainting rving inting gital ixmedia ojection SIMAGE the Subject (or topic) relates the image to a realm of knowledge unique to each viewer portrait place thing scene schematic abstraction the FORM is an expression of language & culture proper to specific audiences realistic abstract styled collaged hybrid the DATE(s) of image/subject is an anchor into a short or long history fleeting anecdotic historic ancient the MATERIALITY / medium dictates how the Image can exist in the world mobile interative animated physical reflected projected printed carved the LIFECYCLE depends on the image ability to be seen, understood & shared personal on-demand programmed distributed popularized commercialized lasting classified archived contingencies
- 84. SIMAGE : une exploration au travers de typologies [more: simage.space] UN GROUPE D’IMAGES SIMILAIRES = UNE SIMAGE
- 86. Notre monde est construit pour et par le regard. Qui contrôle le regard contrôle le monde.
- 88. L’image est à la fois marqueur du temps et de l’intemporalité.
- 91. Here come robots—and drones, bots, and emojis…
- 93. Les portiques sont des images de contrôle sur le territoire et les idées.
- 95. 1. spetacle par image 2. expérience par interface 3. expérience directe TROIS STADES D’EXPERIENCE POST-IMAGE
- 96. Kevin Kelly (pro-tech) vs. Jaron Lanier (anti-bots) vs. Bruce Sterling (anti-tech) vs. Doug Rushkoff (pro-social) » m-a-d.com + cavetocloud.com + simage.space