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press [2016/10/31 17:11]
julien
press [2016/10/31 17:17] (current)
julien
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 ==== Interview Julien Ottavi - MCD ==== ==== Interview Julien Ottavi - MCD ====
  
 +{{:​ottavijapan12.jpg|}}
  
- +**1. How did the idea of Apo33? A collective, linked to a militant artistic context, that guides his work in new media, today is no longer an unusual fact but perhaps when you started your path it was unusual at all.**
-        ​1. How did the idea of Apo33? A collective, linked to a militant artistic context, that guides his work in new media, today is no longer an unusual fact but perhaps when you started your path it was unusual at all.+
  
  
 Apo33 started in 1996, the original idea was to bring experimental and noise music, performance...all those genres that were not covered by the mass media to be shown in Nantes – France. We evolved around 2000 towards the production, research and promotion of our own art works. Indeed when we started to cross art, technologies,​ philosophy, theory, ecology, it was totally fresh in term of interdisciplinary organizations. We were collaborating quite a lot with militant organizations mixed alternative media and alter-politics and others in the art context (art collective),​ some others in Free software and new technologies,​ copyleft and finally some others in the theory and philosophy but not so much of those organization which were cross-mixing all that together in a non-hierarchical way. Today those practices are more spread and we could find around the global, more organizations like Apo33 and we are glad of it, because it is important that those modes of organization multiply like virus, and roots some new seeds in people every day's life experience. Apo33 started in 1996, the original idea was to bring experimental and noise music, performance...all those genres that were not covered by the mass media to be shown in Nantes – France. We evolved around 2000 towards the production, research and promotion of our own art works. Indeed when we started to cross art, technologies,​ philosophy, theory, ecology, it was totally fresh in term of interdisciplinary organizations. We were collaborating quite a lot with militant organizations mixed alternative media and alter-politics and others in the art context (art collective),​ some others in Free software and new technologies,​ copyleft and finally some others in the theory and philosophy but not so much of those organization which were cross-mixing all that together in a non-hierarchical way. Today those practices are more spread and we could find around the global, more organizations like Apo33 and we are glad of it, because it is important that those modes of organization multiply like virus, and roots some new seeds in people every day's life experience.
  
- +Especially, I find interesting the intention of linking technological and socio-economic changes of "'​Information Communication Economy"​ to concepts of production, consumption and trade of goods and services without the direct or obvious involvement of money, thinking about what are called "​economic non-monetary activities",​ hard to be measured by usual monetary indicators, but that can perhaps be best explained by category of aesthetics of digital media - network, flow etc. - (Castells, 2006)
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-        ​Especially, I find interesting the intention of linking technological and socio-economic changes of "'​Information Communication Economy"​ to concepts of production, consumption and trade of goods and services without the direct or obvious involvement of money, thinking about what are called "​economic non-monetary activities",​ hard to be measured by usual monetary indicators, but that can perhaps be best explained by category of aesthetics of digital media - network, flow etc. - (Castells, 2006) +
  
 Well this was not the first link, but it become important at some point because we wanted to survive from our art without having to sell our souls for it. We wanted and still want to be able to be as coherent to our desires as possible. Perhaps if I understand well your question you are making reference to the new economical alternative based on donation developed by the free software movement. You produce art, software, knowledge, tools... that you share with your community, you are not selling goods to make profit, if you sell something it will be related to services, process of production, help...etc. The copyleft movement brings new paradigm of economical exchange based on social relation and change in principal “principe” compared to capitalism which objectives are exploitation of the workers, and profit from any possible goods, even with the money itself (as virtual object), mass-productions and exhaustion of nature (land, resources, animal...etc) and human activities (art, agriculture,​ energies, science, housing...etc). Well this was not the first link, but it become important at some point because we wanted to survive from our art without having to sell our souls for it. We wanted and still want to be able to be as coherent to our desires as possible. Perhaps if I understand well your question you are making reference to the new economical alternative based on donation developed by the free software movement. You produce art, software, knowledge, tools... that you share with your community, you are not selling goods to make profit, if you sell something it will be related to services, process of production, help...etc. The copyleft movement brings new paradigm of economical exchange based on social relation and change in principal “principe” compared to capitalism which objectives are exploitation of the workers, and profit from any possible goods, even with the money itself (as virtual object), mass-productions and exhaustion of nature (land, resources, animal...etc) and human activities (art, agriculture,​ energies, science, housing...etc).
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 For a few years, free software has been engaged in network practice. Through these first networks, source code has been able to circulate, it has been shared, modified, copied. GNU/LINUX first met recognition when it engaged in network technology. Free software could only be developed out of collaborative work, multi-authored projects, programming,​ corrections,​ beta-tests... From the outset the ‘free’ project participated in the Internet project and the practice of net-working. Without free sofware and the options of out-of-copyright licences, the notion of digital networks would have found itself limited to paying sites, or sites controlled by specialised companies. Whilst these companies are visibly present in the current system, they have to compete with more open techniques in addition to a mass of products stemming from the free movement, such as; software, texts, ideas, documentation,​ distribution,​ community, mutual aid, forums, modes of sharing etc. Many forms of creation implicating contemporary notions of networks, sharing and collaboration have been developed in and outside of the Internet. They intuitively borrowed concepts from the net and the digital, and from the resulting multiplication of forms and layers, the deregulation of time (stretched),​ the new ubiquity of our way of life. When the author is multiplied tenfold, thousandfold,​ when the machine (prothesis of the human) becomes creator, autonomous and almost unbound: we could see a new society being born where new visions mingle and get bruised, pile up and explode, new hopes are arise leading to mutations. Machinic mutations lead to chaos, the unknown, and unexpected behaviour. We are now running into darkness with fear as our only light, maybe toward our termination,​ like Icarus aiming for the sun, trying to disappear into the sun. However, what has this got to do with artistic practices? Maybe these practices only mirror our scopes, desires, phantasms? Maybe desire is necessary for our transformation,​ and we need to create, with machines, through networks. to participate collectively in an inconmmensurable and endless work of art, with networks acting as multipliers in a myriad of permutations. For a few years, free software has been engaged in network practice. Through these first networks, source code has been able to circulate, it has been shared, modified, copied. GNU/LINUX first met recognition when it engaged in network technology. Free software could only be developed out of collaborative work, multi-authored projects, programming,​ corrections,​ beta-tests... From the outset the ‘free’ project participated in the Internet project and the practice of net-working. Without free sofware and the options of out-of-copyright licences, the notion of digital networks would have found itself limited to paying sites, or sites controlled by specialised companies. Whilst these companies are visibly present in the current system, they have to compete with more open techniques in addition to a mass of products stemming from the free movement, such as; software, texts, ideas, documentation,​ distribution,​ community, mutual aid, forums, modes of sharing etc. Many forms of creation implicating contemporary notions of networks, sharing and collaboration have been developed in and outside of the Internet. They intuitively borrowed concepts from the net and the digital, and from the resulting multiplication of forms and layers, the deregulation of time (stretched),​ the new ubiquity of our way of life. When the author is multiplied tenfold, thousandfold,​ when the machine (prothesis of the human) becomes creator, autonomous and almost unbound: we could see a new society being born where new visions mingle and get bruised, pile up and explode, new hopes are arise leading to mutations. Machinic mutations lead to chaos, the unknown, and unexpected behaviour. We are now running into darkness with fear as our only light, maybe toward our termination,​ like Icarus aiming for the sun, trying to disappear into the sun. However, what has this got to do with artistic practices? Maybe these practices only mirror our scopes, desires, phantasms? Maybe desire is necessary for our transformation,​ and we need to create, with machines, through networks. to participate collectively in an inconmmensurable and endless work of art, with networks acting as multipliers in a myriad of permutations.
  
- +** 2. As a collective entity are included in European networks or other trans-national production or distribution system? Given the multitude and diversity of contributions that are in this space, the curiosity arises from the possibility of how can you convey them in a systematic and extensive way.**
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-        ​2. As a collective entity are included in European networks or other trans-national production or distribution system? Given the multitude and diversity of contributions that are in this space, the curiosity arises from the possibility of how can you convey them in a systematic and extensive way.+
  
  
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-        ​3. What is your idea on current scene of glitch music? As meaning that often this particular type of expression is based on aesthetics of error, which clearly has post-structural matrix and has its conceptual orientation in the slogan of Deleuze and Guattari: "​Desiring machines work jamming."​ It 's also a way to express your political approach? +**3. What is your idea on current scene of glitch music? As meaning that often this particular type of expression is based on aesthetics of error, which clearly has post-structural matrix and has its conceptual orientation in the slogan of Deleuze and Guattari: "​Desiring machines work jamming."​ It 's also a way to express your political approach?**
  
  
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- +**4. What in your opinion the most significant artists of the sound landscape? this segment of art this is still not very decipherable to art users, so, I'd ask you another thing: what are characteristics,​ both technical and aesthetic, that you think should have a good job today? And, according to this, there is some work, or series of works, that you are particularly proud of having produced or distributed?​ I realize that this question can be completely rejected by you, given the setting "​reductionist"​ that I think you give to an artwork, shifting the focus of the process (in this we support the theories of Arthur Danto and Manuel Castells) from the finished product of a single creator to the benefit stream, genesis of continuous process of widespread creativity.**
- +
-        ​4. What in your opinion the most significant artists of the sound landscape? this segment of art this is still not very decipherable to art users, so, I'd ask you another thing: what are characteristics,​ both technical and aesthetic, that you think should have a good job today? And, according to this, there is some work, or series of works, that you are particularly proud of having produced or distributed?​ I realize that this question can be completely rejected by you, given the setting "​reductionist"​ that I think you give to an artwork, shifting the focus of the process (in this we support the theories of Arthur Danto and Manuel Castells) from the finished product of a single creator to the benefit stream, genesis of continuous process of widespread creativity. +
  
  
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 Indeed it is not very know from the general mass public audience. Anything could be interesting : why should we limit ourself to tools or aesthetics? As Duchamp suggested artist should be able to do anything he like, imagine to do. We develop and produce a lot of work that I am proud of : Indeed it is not very know from the general mass public audience. Anything could be interesting : why should we limit ourself to tools or aesthetics? As Duchamp suggested artist should be able to do anything he like, imagine to do. We develop and produce a lot of work that I am proud of :
  
- +-The poulpe
--The poulpe ​:+
  
 Le poulpe (the octopus) is an analogical and digital organism living in a network. Each branch constitutes a sonic installation which, out of a specific location, collects its own locally generated sound effects, transforms them via a digital automaton into a new arrangement of sounds. The outcome is then broadcast locally, through loud speakers, and on the Net, through streaming. Le Poulpe belongs in the city, where people live and make noise. It gives a virtual body to this city, expressing through sounds its invisible mouvements and its continuous flows. Over the Net, its tentacles collect and connect continuous sonic fluxes from ever changing contexts, to infiltrate and modify another environment. Le poulpe (the octopus) is an analogical and digital organism living in a network. Each branch constitutes a sonic installation which, out of a specific location, collects its own locally generated sound effects, transforms them via a digital automaton into a new arrangement of sounds. The outcome is then broadcast locally, through loud speakers, and on the Net, through streaming. Le Poulpe belongs in the city, where people live and make noise. It gives a virtual body to this city, expressing through sounds its invisible mouvements and its continuous flows. Over the Net, its tentacles collect and connect continuous sonic fluxes from ever changing contexts, to infiltrate and modify another environment.
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-- Dream Sweepers +-Dream Sweepers w/ Jenny Pickett
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-w/ Jenny Pickett+
  
 Dream Sweepers is a sound sculpture using speech (narration) and sound related to concepts of memory and experience. The audio souvenirs, perceived ambiances and the received sonic life of the city delivers its unconscious impressions / expressions and simultaneously transmits those via remote telephonic narratives and resounding cut ups echoing across different cityscapes (London, Marseille, Nantes, Amiens…etc). Dream Sweepers is a sound sculpture using speech (narration) and sound related to concepts of memory and experience. The audio souvenirs, perceived ambiances and the received sonic life of the city delivers its unconscious impressions / expressions and simultaneously transmits those via remote telephonic narratives and resounding cut ups echoing across different cityscapes (London, Marseille, Nantes, Amiens…etc).
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- +**5. Often the training, even from a cultural perspective,​ of those involved in this type of disciplines from a certain point of view still pioneering is, necessarily,​ heterogeneous:​ often in between artistic and musical education, or completely turn elsewhere, but what is your world belong?**
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-        ​5. Often the training, even from a cultural perspective,​ of those involved in this type of disciplines from a certain point of view still pioneering is, necessarily,​ heterogeneous:​ often in between artistic and musical education, or completely turn elsewhere, but what is your world belong?+
  
  
press.txt · Last modified: 2016/10/31 17:17 by julien