Cie 36 du mois — Cirque — April A Crossing Industry focuses on the operations of the Israeli separation regime in the West Bank during the three years following the second Intifada In this contribution, we discuss how game video technology has allowed the team to use a documentary approach to model ethnographic analysis, using artistic conceptualization with its own aesthetic and poetic issues. In October , the project finally adopted a graphic language which uses low-poly 3D objects, a single background with grey nuances empty with no visible ground and primary colours for representing different types of places Israeli-controlled zones, Palestinian zones, etc.
By placing these objects on a map similar to the one I had drawn, we were able to develop the first layout for the navigational space. At this point, we realized that we had to rethink our respective positions. I could no longer remain in my role as transmitter of knowledge, while the artists needed to objectivize that knowledge through the coding of a visual language, text and rules of interaction.
We had to give much greater thought to understanding how we could work through these difficulties. In September , we explored new lines of articulation and a new scenario. Cedric Parizot attempted to appropriate the graphic language provided by Unity and the software for writing scenarios. The reflections generated by these attempts allowed him to make a critical appraisal of the hegemonic character that he had given to certain regimes of visibility, such as cartography.
They also allowed him to understand the contingent and intersubjective nature involved in constructing an argument through a video game. Finally, they contributed to a rethinking of the various forms of intervention that A Crossing Industry could offer. This is in fact how the game was able to assume fully its role as critical documentary: In the second draft we aimed to put on stage the story of a young Palestinian man who returns to his home village just after the Second Intifada After several years abroad, he discovers not only that his village is now blocked in by Israeli settlements and the Wall of Separation, but also that restrictions on movement around the village have been tightened.
But the Israelis are not the only people to introduce regulations on the movement of people and merchandise. As he rediscovers his bearings, he learns about a informal economy that organizes the passage of Palestinians into Israel. It involves Palestinians, Israelis and sometimes people of other nationalities. For more elements on the process of creation of the game see: In , given the persistent gaps between the graphics and the scenario and the difficulty of moving forward, we chose to restart from scratch. From text writing, he moved to the drawing a dozen scenes.
On this basis, the story and the graphical interface have been completely redesigned. The new scenario revolves around a young French anthropologist who leaves an Israeli city in the Negev desert to cross to the other side of the wall and reach a Palestinian village. He is scheduled to meet with a final interlocutor to finalize his investigation of the smuggling networks that facilitate the passage of Palestinian workers to Israel. However, he never meet this person. In the absence of this meeting, he has to improvise and seek new contacts among his relatives and relations. In doing so, he realizes that Israelis and Palestinians are much more interconnected than the Israeli political project of separation suggests.
Based on this story, the goal is to produce a playful documentary based on an artistic and critical approach of the operation of the Israeli separation regime imposed on Palestinians in the Occupied Territories. The challenge is also to experiment and develop new writing practices that combine research, art and video-game technology in order to: Reconceptualising boundaries differently from Westphalian model? The practices of border, police and military controls and the trends of delocalisation and digitisation.
Eurosur, Frontex and the temporality of migration maps. Thomas Cantens Organisation Mondiale des Douanes. Codes, Nodes, and Mapping. Patricia Revesz Organisation Mondiale des Douanes. Data, Transparency, and the Representation of Projection. Marcellin Djeuwo Douanes du Cameroun , The mathematisation of the fight against corruption and bad practices in Cameroon Customs: Digital, bilingual and in free access, the antiAtlas Journal opens an exploratory editorial space dedicated to a radical transdisciplinary approach to contemporary borders.
As an extension of the antiAtlas of Borders project relying on a collaboration between researchers and artists, it experiments new methods of editing and of modelization of research. Its content is available online desktop, tablets and mobiles and in PDF format. Content for later thematic issues will be obtained via calls for papers: Conceptualized and designed by Thierry Fournier and created with Papascript, the editorial and graphic layout for the Journal takes advantage of opportunities offered by digital publication for extending the experience of reading research articles.
By opening up multiple proximities and circulations between text and image, it enables transversal trajectories and varying levels of perception that a linear organisation does not permit, though a linear pdf version will also be available. Very large images will extend beyond the screen: Thierry Fournier Development and Design: Sabine Partouche Editorial Committee: Immediate and free publication Periodicity: Sabine Partouche partouche AT mmsh. Coding and decoding the borders exhibits the work of artists and researchers who question the datafication and mathematization of the border.
Over the past twenty years many actors researchers, journalists, NGO workers and activists, elected politicians, employees of national administrations and of international organisations, and so on have observed, documented, studied and sometimes even condemned the technological escalation at borders. Above the militarization of borders, the deployment of ever more sophisticated technologies biometry, robots, fences and walls, integrated surveillance systems, data mining, big data, etc.
The study of this technological escalation generally tends to separate the analysis according to the object of control: From a perspective intertwining art, research and expertise, the public is invited to look at the circulation of knowledge and techniques between these objects, at the functioning and dysfunctionning of the mechanisms of control as well as their circumvention by a multitude of actors.
The escalation of border control on land, at sea, in the air and on internet in Europe and the rest of the world has radically transformed the nature of borders and how they operate. Some analysts have seen in these trends the symptoms of the de-materialization of contemporary borders. Yet, all these control technologies still retain a strong materiality. They often rely on dense and heavy networks of physical infrastructures. Both designed to manage human body and to be displayed, these artifacts contribute to the development of new esthetics of control Body and Border , CoRS, Antoine Kik, Immigration game , CoRS, Body and borders , Some people regard the automation and autonomization of border surveillance technologies as more reliable than human controls, others, on the contrary, express concern about this trend.
They point to the risk of endangering the rights and freedoms of the mobile populations or states concerned. The artworks gathered in this part of the exhibition problematize this general trend. Pierre Depaz , SimBorder, LarbitsSisters , eu4you , depuis Collectif Personal Cinema , Banoptikon , They have introduced new apparatus through which we access and represent the world. Digital maps and GPS system have radically changed our perspective, the ways we project ourselves into space and thus the modalities by which we perceive and imagine borders.
While statistics had created society, and poll had produced public opinion, data mining has created digital traces, through which movements of people, goods, funds and information can be traced, monitored or displayed. Finally, by providing hightech mechanisms for the channeling, the facilitation or the filtering movements, these technologies help reorganize differently the space practices of different groups of populations within and around border zones. They also intend to render visible what is usually made invisible. Lawrence Bird , Parallel , depuis Michel Couturier , Calais 1 , Nicolas Lambert , The migratory red mound , Mahaut Lavoine , camps , While these media play a determinant role in informing and developing public awareness, the reality they construct and display is highly shaped by the narratives, standardized scripts and practices, as well as the regimes of visibility in which they are embedded.
A Filmic Border Experience in Ceuta, Border control technologies are often considered to be omnipotent, omniscient et omnipresent. Both their promoters and opponents are fascinated by their power. Deployed and associated with systems of pre-existing checks and with specific institutional and political stakeholders, they reproduce the contradictions and lack of foresight of the organizations and stakeholders that deploy them. Moreover, in transforming and modifying the organizational environment in which they are deployed and in modifying the reality they are intended to control, they create new challenges.
Lastly, they are often re-appropriated not only by the actors who implement them but also by those seeking to elude border surveillance. Julian Oliver , Border Bumping , These interviews are excerpted from a work-in-progress. Read these interviews on Makery. The question I ask myself, what I want to understand, is how to live in the jungle, how to restore its humanity, how to create spaces for living and sharing together. In a little less than a year together, and with the help of numerous French and especially British NGOs, the refugees of the jungle have built what has become a city-world, populated by places of worship, shops, services, restaurants, schools, galleries, cultural spaces….
These everyday heroes are not only able to meet most community needs, they introduce a fledgling political model, based on decisions made from the representative of each community present, which are heard by NGOs, with all due respect to the needs, expectations and voices of the residents. For this reason I chose the medium of video games to translate my interviews of these jungle residents and give them another dimension.
The excerpts presented here refer to building the Chemin des Dunes school. One of these brothers is Marko, a Kurdish man who has been in the jungle for more than 11 weeks and prefers to remain anonymous. He is helping Zimako finalize the construction of what he calls a forum, a place for meeting, exchange and learning for children, as well as for adults. They talk about building, following a vision, never giving up, staying on site, supporting families, children, mutual aid….
Travel is a two-screen ethnofictional installation presenting the life history of Joy, a Nigerian migrant woman selling sex in the Bois de Vincennes in Paris. Joy left Nigeria in order to help her family after the death of her father. She knew that she was going to sell sex before leaving, but was unaware of the hard working and life condition she would have had to face in France. After having endured several months of exploitation, Joy decides to reinterpret her story of migration as one of trafficking.
Partnership
With the help of an association she obtains humanitarian protection, but in order to keep helping her family and live her life she keeps selling sex at night. His main research interest is the negotiation of gender, sexuality and subjectivity through the migration process, with particular reference to the globalised sex industry as a contested and ambivalent space of control and autonomy.
In his academic work and films, Nick problematises prevailing understandings of the global sex trade as characterised by exploitation and victimisation, by showing the complexity of the subjective investments of the people involved. In his Sex Work Trilogy , he explores differents meeting experiences between migration and the sex industry.
The Virtual Watchers is an on-going research project at the intersection of art, research and technology that questions the dynamics of crowdsourcing at contemporary State borders. It focuses on the exchanges that occurred within a Facebook group that gathered American volunteers ready to monitor US-Mexico border through an online platform that displayed live screenings of CCTV cameras.
The declared aim of this operation was to bring American citizens to participate in reducing border crime and block the entrance of illegal immigration to the US by means of crowdsourcing. This initiative, a public-private partnership, was originally launched in and consisted of an online platform called RedServants [1] and a network of cameras and sensors located in strategic areas along the US Mexico border.
Some of these cameras were also installed in the private properties of volunteering citizens.
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The program stopped in due to lack of financial support, as announced in its official Facebook page in May 13th By doing so, it highlights to what extent the emotional investment and exchanges of these people work as an essential mechanism in the construction and legitimization of a post-panoptic system.
The original name of the platform has been changed in order to protect the identity of its users. All the profile pictures and real names of the Facebook group members have been faked in order to protect their identities. During three days, Italian, French, German, and British academics, journalists and artists debate how new technologies, geopolitical conflicts and socio-economic inequalities have transformed both migration flows and the material, political and symbolic dimensions of borders in the 21st century.
The Art of Bordering will compare the different and overlapping ways in which art, technology and the social sciences address contemporary bordering dynamics. This strategic comparison aims to highlight the different and interrelated ways in which borders have become strategic places for the performance and observation of the symbolic representations, political agencies and governmental techniques at work in contemporary neoliberal societies. The debates, links, quotations, transfers and exemplifications, will also help problematizing the boundaries existing between these fields of knowledge and practice.
Presentation and screening of Liquid Traces: Presentation and screening of Samira — 26 min by Nicola Mai. Isabelle Arvers, artist and curator Close the camps video 10 min , data-visualization. Decision-making in three visa sections in Morocco. Narrative Credibility and the Assessment of Truth. Curated by Isabelle Arvers. The development of the informal border economy between Israel and Cisjordany in the last 20 years. The embodiment of humanitarian biographical borders: Images and videos taken from the private surveillance cameras monitoring the border between United States and Mexico in Texas.
French Institute in Italy Festival Internazionale. From the birth of the Society in , our project has been to contribute to a politics and poetics of forms for the 21st century: This conception of the poetic link in the respect of AND in the movements of bodies and territories migration, hybridization, translation and their political repercussions surpassing the identities of suffering, getting beyond closed subjectivity are taken further in this third program we are glad to inaugurate today.
Secession is an itinerant, curatorial, project with literary, philosophical, and artistic dimensions. It is of course a reference to a certain period in Viennese modernity. But more than that, it is the whole Middle-European space — a space without a hollow, an empty center — that underpins the Secession project. What we would like to do is to take hold of Europe as an object, using art, literature, and philosophy, in order to shift and rethink the idea of a European common ground.
An evening of readings and performances was also scheduled on September 23th, starting from a fiction: These texts will constitute the beginning of the Secession archives. Stage design is by Leyla Rabih. Hackitectura, Critical cartography of the straits of Gibraltar , A Conference-performance that questions the interactions between artists and scientists around the data dramatization:.
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Isabelle Arvers will realise a conference -performance with the system WJ-S and will present the net. Social scientists have been inspired by topology in trying to understand the nature of territorial changes introduced by globalization. However, the relationship between topology and territory is not straightforward, as the former deals primarily with mathematical properties of space while the latter deals primarily with the social aspects of space.
This workshop brings together scholars to engage these issues. A relational approach to bordering. The space-time topology of interoperability and situational awareness. A Topological Approach to Borders. In this talk, I will critically engage with the concept of topological borders, an increasingly cited but under-examined aspect of contemporary mobility control regimes. Databanking technologies, risk analysis, and surveillance practices allegedly allow state officials identify and detain dangerous individuals from the population far from the territorial margins of a nation-state.
Paradoxical legal categorizations allow migrants to be physically present, yet excluded from legal protections, so that states can hold people simultaneously inside and outside the law. However, while references to topological borders are rife, it is unclear how borders operate topologically. My aim is to refine and clarify a topological approach to borders and bordering, and to do so I bring recent conceptions of topological space to bear on immigration policing and border literatures.
This paper is an attempt to conceptualize borders multiplicity by mobilizing the theory of assemblage developed by Deleuze and Guattari. The aim is to examine how multiple meanings emanating from various actors constitute a border assemblage and how this heterogeneous grouping of different parts allows us to scrutinize in a new way the changing significance of borders. In the first place, an analytical framework addressing borders multiplicity in terms of structure and agency is elaborated.
In the second place, the concept of assemblage is mobilized in order to understand how these different meanings that do not form a coherent whole relate one with each other. The border assemblage, conceived as a relational approach to borders multiplicity, makes it possible to unravel the uneven power relations that are both constitutive of and mediated by the border. Lastly, a conceptualization of the connections that hold together the disparate elements is undertaken in order to be able to represent a border assemblage in contextuality.
Based on discourse network analysis, new ways of mapping real world border assemblages are considered. If modern political territoriality is built on a geographical imagination that sees space as a rigid object to be divided by linear borders, recently we are witnessing a changing geographical imagination to incorporate a polyvalent perspective that is more in tune with a notion of space defined by mobility and connectivity rather than by proximity and distance decay.
Accordingly, we are witnessing the emergence of complementary forms of state borders that, shaped in large part by digital technologies, depart from the norms of territorial linearity by becoming embedded into flows that can travel and be monitored continuously across space. Such articulation of borders changes the way movement through space is organized and how people and places come into contact. However, just what kind of political territoriality these mobile borders engender remains unclear as the tension between the two geographical imaginations is proving difficult to reconcile in practice.
While the network model is often advanced when it comes to representing topological phenomena, this falls short of capturing the more complex dinamics of technologically embedded border flows. The lines, he wrote, had been drawn on a 1: Meeting in an abandoned house in the frontier neighborhood of Musrara in Jerusalem, they laid out a map on the floor. Each drew a line using a different colored grease pencil: The thickness and softness of the colored pencils resulted in lines that were, generally, three to four millimeters wide.
But because the floor under the map was uneven or perhaps Dayan and al-Tal were a little careless , in some areas of Jerusalem the width of the line became wider. Before and since then Palestine is traversed by these borderlines that aim to reduce modern geopolitics into a flat Euclidian space. However when these lines encounter reality, fields, olive and fruit orchards, roads, gardens, kindergartens, fences, terraces, homes, public buildings, mosques they produce a different reality.
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It is in these lawless lines that the regime manifest its nature but it is also in these extraterritorial dimension of these lawless lines that lays the possibility for tearing apart of the entire system of division. Sommes-nous tous des imposteurs? Dore Hoyer, Valeska Gert et […]. La danse et les arts plastiques entretiennent depuis toujours une relation plus ou moins intense.
Emmanuel SIETY | Université Paris III - Sorbonne Nouvelle - theranchhands.com
Rendez-vous phare de la Biennale de la danse Grand Est — Exp. Au carrefour de plusieurs pratiques artistiques, leur travail croise aussi bien le champ des arts plastiques que celui de la danse. Cet ancien circassien […]. Au regard de votre parcours, retrouve-t-on des analogies entre la vingtaine […]. The works here, by artists born after , make up a collection of paintings, sculptures, drawings, photographs and installations integrating new media. The collection of contemporary and progressive creation focuses on artists born after , with works dating from to the present day.
It consists of around paintings, sculptures and installations, often multidisciplinary, exhibited in rotation in numerous hangs on the fourth floor of the museum, and elsewhere within and outside the Centre Pompidou. It contains several major historic collections, and is now one of the few collections in the world that covers the entire history of modern and contemporary photography in all its diversity.
The collection can be seen in the Galerie de Photographies, an area of m 2 , where admission is free. Photography is also well-represented within the museum in the multidisciplinary circuit of modern and contemporary collections, where the disciplines dialogue together. Design also features in the collections, fostering a constant dialogue with the visual arts and architecture.
Symbolism (arts)
To date, the design collection contains over 5 French and international pieces by nearly designers, around a hundred of whom are French. Monograph collections, brought together at the Centre Pompidou through major donations, are dedicated to Serge Mouille, Ettore Sottsass Jr. With a wide variety of prototypes, elements of design and exceptional pieces, the collection provides a constantly-renewed interpretation of the history of design, from the masterpieces of a highly imaginative modernity to works with an eye to the future.
The cinema collection consists of works by experimental film directors, and films and installations created by visual artists. It now includes 1 works by visual artists and film directors from a wide range of geographic and cultural backgrounds.