My creation process consists of superimposing different images using algorithms close to the AI that create a recomposition strategy as human memory could do. Human memory does not operate like a camera, it distorts, confuses, agglomerates, mixes and deforms. It is for me to go beyond the automations of the AI to find a new vision through a process of emergence. This consists in observing how photographic shooting, image fusion algorithms bring back to art.
dimanche 25 février 2007
Magazine "vu" "see" and collage assembly
European house of photography presents the Magazine "vu" "see" publishing in the Thirties.
From November 2, 2006 to February 25, 2007 at the European House of photography, one presents a magazine of the Thirties. Not, do not believe that the House of the photograph was transformed into living room of joining so that it is the subject of a page on this site. `To look CONSIDERING'. It is an exposure where there is there is a profusion of joinings assemblies which the amateurs will appreciate.
The recourse to the image wants to be systematic and generous, in order to better achieve its goal the image is reinforced by a provocative title or an astute assembly. The goal is to show that the image, in our company, is often stronger than the words and to attract. The receipts of the magazine considering are always in force with regard to also joining assembly.
With Alexandre Liberman in 1932 the magazine fétichise the catch of sight of manner D of retaining qu of them a fraction in S inspiring of the dadaïstes. Page-setting makes visible the intentions and under heard. The setting in scene of the images takes precedence over the text. The assembly does not prove it calls a reaction and makes function imagination and the phantasms.
On plan of the photography of report the exposure before is very conceived so that each one can look at a profusion of images, without superficiality, and enter the development of a media system by having all the elements “under the eyes”.
Commissaire : Michel Frizot, directeur de recherche au CNRS, historien de la photographie et Cédric de Veigy, enseignant chercheur en photographie et cinéma.
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