:: julien maire ::
 "high voltage"
"pieces de monnaie"
"double face" + "ordonner"
 "diapositives" + "demi pas"
 "exploding camera", "digit", "low res cinema"
"Exploding Camera", 2007

Exploding Camera in Tesla / Media<Art> Labor, Berlin, 2007

Two days before the 11th September, Commander Massoud, the most senior war commander and the most credible opponent to the Taliban was murdered. Two al-Qaida suicide bombers posing as journalists killed him with an exploding camera at his camp in Afghanistan's remote Panjshir Valley.
The connection between his assassination and 9/11 is certain, but this act has been almost completely forgotten because of the magnitude of the events a few days later. The fact that the terrorists used a camera made a deep impression on me.
For me, it is as if the destroyed camera used in the attack against Massoud had continued to work and has been filming a war film for the last 6 years.
All of this, as well as the death of the almost mythic figure of Massoud, has lead me to develop the piece ‘the exploding camera’: a kind of destroyed medium able to produce live an experimental historical film reinterpreting the events of the war.

Exploding Camera Screenshots

screen 2
screen 3
screen 1

The piece is constructed with a tv monitor connected to the dissected body of a video camera lying on a table. The camera works however, but the lens has been taken out and is not used anymore. By using simple external light in the room the installation is in as well as LEDs and laser placed on the table, I produce the video images by direct illumination of the camera's CCD (light sensor) .
A transparent disc containing a few photographic positives is placed between the lights and the CCD. The pictures are projected onto the CCD when a light is turned on. Because of the different position of the lights, I can produce movement in the same picture (illuminating the picture with different angles makes the picture appear to move). Large lights and the laser create explosions (they trigger a sound that overlays the backing soundtrack).
The lights that produce the ‘explosions’ not only illuminate the frame for the video image but also the exhibition space and spectators at the same time.
By using theatrical methods and turning the exhibition space into an experimental film studio thought of as a battlefield, the ‘exploding camera’ expresses, in relation to an historic fact and through its process of image production, the importance of the actual facts.

Kindly supported by the Film Festival Rotterdam and by Tesla, Media>art<lab Berlin

Setup and Editing : Jean-Pierre Fargeas (Fr)
Soundtrack include "fireworks granular-synthesis processed" from Hanstimm

Thanks to Edwin Carels, Julien Clauss, Daniel Belasco Rogers.

Honorary mention 07, Ars Electronica , category hybrid art


"Digit" 2006 / live performance 2007

Digit 1
Digit, 2006, live performance, Exhibition "off", FRAC Lorraine

"Digit" is a live performance that is also conceived to be presented as a piece of living Art. A writer sits at a table writing a text. Simply by sliding his finger over a blank piece of paper, printed text appears under his finger. The spectators can come very close to the 'writer' and read the text following the movement of the finger. The writer remains absorbed in his task.
The performance is simple but quite disturbing. Nothing appears to come between the thought and the printed words. It seems that there is a shortcut somewhere: there is no visible hardware, no computer, no display, no noise, no projection. The spectator is free to follow a text written and drawn in a natural movement.
"Digit" is located between a cinematographic process and the process of writing. The “magic” of the apparition of a moving image is transcribed into a different cinematic setup. "Digit" enlarges the concept of projection and the concept of a project that operates in interstices between literature and moving image as well as referring to the surrealistic tradition of cutting and rearranging text : "Digit" is a kind of “Soft machine” *.
In opposition to other types of writing where machine interferes, the human movement is free and can print in any direction. The performance interfaces the human process between the thought and printed word.

*ref. William S. Burroughs

drawing 1

drawing 2

Digit 2
View of digit / live performance, Kibla multimedia center, Slovenia, 2007
Digit has been developed in residency in Berlin with the support of the Conseil Générale de la Moselle in 2004 and in Villa Kujoyama (AFAA) in Kyoto in 2005

Thanks to :
Jean-Pierre Fargeas
Daniel Belasco Rogers
Nobuyasu Sakonda
Tomofumi Yoshida
Marcus Winterbauer

"Low Resolution Cinema" / 2005 / Installation

Projection 1
"Low resolution Cinema" is a 128 x 64 pixels projection.
Developed in residency in Berlin, the project represents in an abstract way the geopolitical space of the town.
The piece is based on a high reduction of the resolution and by the other way tries to "decompress" the image in a three dimensional space.
The projection is produced with a special projector using two black and white Liquid Crystal Displays (LCD). Both are in movement inside of the projector. The horizon line, or border, is physically cut on each lcd.( each LCD has been half-destructed in order to display only the upper or the lower side of the image).
The project is still in development, and is connected to my main research : adapt the cinema /video interface in order to express the properties of the subject.


projection 2
Projection " low resolution cinema, "Almost cinema ", Vooruit, Gent, 2006, 4 X 2,5 m

"Low resolution cinema" has been develloped in residency in Berlin (Podewil) with the support of the Conseil Générale de la Moselle in 2004 and 2005

Max / Msp code : Nobuyasu Sakonda (JP)
Pixel works and assistance : Jean-Pierre Fargeas (F)
Special Thanks to Shigeru SAKAI (JP)