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Descriptions & Essays
Architectures réactives de la communication
Le virtuel c’est le réel avant qu’il ne passe à l’acte. Un non-espace non-matière. Il prend forme en s’actualisant.
L’architecture du virtuel c’est à la fois l’architecture de l’information et l’architecture de la communication. Sa matière c’est le sens et l’échange.
C’est aussi une architecture de la situation. Confrontation de l’homme à un espace qui l’éprouve. La mise à l’épreuve et le dialogue. L’exploration est un questionnement. La visite d’un espace à produire des non-réponses. Un parcours est une lecture. Le texte apparent s’écrit au fur et à mesure de sa découverte.
L’infra-texte est l’ensemble des règles qui régissent le monde. C’est lui que l’on doit vivre et lire au delà des images. C’est lui qui se révèle par l’émergence des événements. Le scénario, développement dans le temps de la mise en oeuvre de l’espace, enchaîne les événements dans un ordre et sous une forme issue de nos stratégies d’exploration. L’espace du film est du linéaire discontinu (le montage) le scénario d’une « visite » dans le virtuel est du linéaire individuel. Le linéaire ne s’oppose pas au chaos ou à l’aléatoire. Il est la traduction de notre vécu temporel de l’espace. L’opposition majeure se situe entre le linéaire pré-écrit et le linéaire personnel que le virtuel partage avec le réel.
C’est le réel qui nous enseigne la réactivité d’un univers qui prend en compte notre présence. L’architecture du virtuel n’est pas une protection contre un extérieur hostile, une organisation pré-structurée de l’espace à vivre, elle habille de sens notre être au monde. Elle nous fait participer au discours en faisant du visiteur la condition nécessaire de son énonciation. Dans ces mondes, se déplacer c’est agir, agir c’est construire, construire c’est révéler. Cette architecture masque pour mieux dévoiler. Si rien ne s’offre à priori, ne se donne à voir sans effort c’est qu’elle évite l’obscénité d’une exhibition forcée, offerte à qui ne l’a pas demandée. Elle participe donc au plaisir de la découverte.
Un monde virtuel n’est pas un simulacre d’architecture. C’est le « réalisme » que permet l’ordinateur, l’automatisation de la perspective, qui nous leurre. Ce n’est pas non plus une mise en image de l’information. C’est sa mise en scène comme acteur d’un échange dont l’interlocuteur est le visiteur. L’architecte du virtuel abandonne les pesanteurs, les résistances, il ne gère pas les circulations multipliant les obstacles au corps et au regard. Il les donne à lire semant le trouble par sa différence. L’écart creusé entre le matériel et son évitement. Un monde interactif s’oppose à l’(inter) passivité du tangible. Au lieu d’enfermer l’homme dans l’imaginaire affranchi du réel, elle lui propose un niveau supplémentaire de réalisme, un univers de fiction qui comme dans son expérience du réel, est modifié par sa présence manifeste. Cette « fiction virtuelle » - bien plus que « réalité virtuelle » - s’inspire du réel dans ses capacités de mutation, d’adaptation, de réaction. C’est un infraréalisme ou réalisme des profondeurs qui exploite la générativité et la réactivité du réel pour les charger de sens. Un monde orienté qui se distingue, dans l’intention, du monde réel : il a un sens. Et en cela, il est plus humain... C’est aussi sa limite.
DA Editor 05-02-2016
Reactive architectures of the communication.. Virtual is reality before it goes into action. A non-material non-space. It takes shape in actualizing. The architecture of the virtual this is both the information architecture and the architecture of the communication. Its material is the meaning and exchange. It is also an architecture of the situation. Human confrontation with a space that feels. The probation and dialogue. Exploration is a questioning. Visiting a space to produce non-answers. A course is a reading. The apparent text is written in as and of his discovery. The sub-text is the set of rules that governs the world. It is him that must live and read beyond the images. It is him who is revealed by the emergence of events. The scenario development over time of the implementation of the space, a string of events in an order and in a way shaped our exploration strategies. The space of the film is discontinuous linear (assembly) the scenario of a "visit" in the virtual individual is linear. The line is not opposed to chaos or randomness. It is the translation of our temporal experience of space. The major contrast is between the pre-written linear and the personal linear and staff that shares the virtual with the real. It is the real teaching us the responsiveness of a universe that takes into account our presence. The architecture of the virtual is not a protection against a hostile outside, pre-structured organization of the living space, it dresses in a sense our being in the world. It makes us participate in the speech by the visitor the necessary condition of its utterance. In these worlds, moving is action, action that is build, build is revealed. This architecture to better reveal mask. If nothing provides a priori, is to be seen effortlessly is that it avoids a forced obscenity exhibition, offered to who has not requested. It therefore contributes to the pleasure of discovery. A virtual world is not an architectural travesty. This is the "realism" that allows the computer automation perspective, luring us. This is not an imaging information. This is its staging as a player exchange with the visitor as the interlocutor. The architect abandons the virtual inertia, resistance, it does not handle the traffic multiplying obstacles to the body and eyes. He gives them to read sowing disorder by its difference. The gap widened between the material and its avoidance. An interactive world opposes the (inter) passivity tangible. Instead of locking the man in the freedman real fantasy, it offers him an extra level of realism, a fictional universe as his experience of reality is modified by its manifest presence. This "virtual fiction" - much more than "virtual reality" - is inspired by the real mutation in its capabilities, adaptation reaction. It is an infra-realism or realism depths that operates generativity and responsiveness to load the real sense. Oriented world that stands in the intention of the real world: it makes sense. And in this he is human ... It is also its limit. Maurice Benayoun, July 1998 Transachitecture by Odile Fillion, founder and curator of the exhibition. "Transarchitectures invites to reconsider the scope of intervention and the responsibility of the architect involved simultaneously in redefined space " global city "and in the networking space. The vertiginous and previously unimaginable perspectives in space real looming, considering his transfer in the virtual space, the architect exchanges tool and therefore culture. The spaces he designs are logically reference to the internal systems of computers, and in addition to the three known dimensions, the notion of time and movement. All architecture is moving, any image point of view, in a territory without weight and without limits. New theories are emerging, based on philosophy, mathematics, biology, artificial intelligence ... More trans-disciplinary than ever, architecture is reinventing itself in the evolving and interactive traversable virtual universe.
DA Editor: Missing matter, 05-02-2016, in: Archive of Digital Art Reactive architectures of the communication.. Virtual is reality before it goes into action. A non-material non-space. It takes shape in actualizing. The architecture of the virtual this is both the information architecture and the architecture of the communication. Its material is the meaning and exchange. It is also an architecture of the situation. Human confrontation with a space that feels. The probation and dialogue. Exploration is a questioning. Visiting a space to produce non-answers. A course is a reading. The apparent text is written in as and of his discovery. The sub-text is the set of rules that governs the world. It is him that must live and read beyond the images. It is him who is revealed by the emergence of events. The scenario development over time of the implementation of the space, a string of events in an order and in a way shaped our exploration strategies. The space of the film is discontinuous linear (assembly) the scenario of a "visit" in the virtual individual is linear. The line is not opposed to chaos or randomness. It is the translation of our temporal experience of space. The major contrast is between the pre-written linear and the personal linear and staff that shares the virtual with the real. It is the real teaching us the responsiveness of a universe that takes into account our presence. The architecture of the virtual is not a protection against a hostile outside, pre-structured organization of the living space, it dresses in a sense our being in the world. It makes us participate in the speech by the visitor the necessary condition of its utterance. In these worlds, moving is action, action that is build, build is revealed. This architecture to better reveal mask. If nothing provides a priori, is to be seen effortlessly is that it avoids a forced obscenity exhibition, offered to who has not requested. It therefore contributes to the pleasure of discovery. A virtual world is not an architectural travesty. This is the "realism" that allows the computer automation perspective, luring us. This is not an imaging information. This is its staging as a player exchange with the visitor as the interlocutor. The architect abandons the virtual inertia, resistance, it does not handle the traffic multiplying obstacles to the body and eyes. He gives them to read sowing disorder by its difference. The gap widened between the material and its avoidance. An interactive world opposes the (inter) passivity tangible. Instead of locking the man in the freedman real fantasy, it offers him an extra level of realism, a fictional universe as his experience of reality is modified by its manifest presence. This "virtual fiction" - much more than "virtual reality" - is inspired by the real mutation in its capabilities, adaptation reaction. It is an infra-realism or realism depths that operates generativity and responsiveness to load the real sense. Oriented world that stands in the intention of the real world: it makes sense. And in this he is human ... It is also its limit. Maurice Benayoun, July 1998 Transachitecture by Odile Fillion, founder and curator of the exhibition. "Transarchitectures invites to reconsider the scope of intervention and the responsibility of the architect involved simultaneously in redefined space " global city "and in the networking space. The vertiginous and previously unimaginable perspectives in space real looming, considering his transfer in the virtual space, the architect exchanges tool and therefore culture. The spaces he designs are logically reference to the internal systems of computers, and in addition to the three known dimensions, the notion of time and movement. All architecture is moving, any image point of view, in a territory without weight and without limits. New theories are emerging, based on philosophy, mathematics, biology, artificial intelligence ... More trans-disciplinary than ever, architecture is reinventing itself in the evolving and interactive traversable virtual universe.
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