Document:Q9430

Common field of exploration/creation is what my tableaux programmés (programmed paintings) are about. Starting with the tools and materials available to the painter, they transform them through an algorithmic manipulation where the computer code acts as a new kind of paint medium.
The forms’ structure and arrangements within the space of the picture are governed by a complex set of rules, relying upon the expressivity of programming. It’s a complex, autopoietic system, self-organizing, whose inner workings take from scientific modelizations, both in cellular/molecular dynamics and in celestial mechanics.
Motion capture inserts a entropy factor, both local and global, which deeply affects the behavior of each work. The tableaux programmés are conceived from the start to allow for such interactions. Each picture dissolves and is regenerated by a constant relation between the software and whatever “share of reality” the system is able to capture. So the picture keeps conversing it with an external force — the network’s global “intelligence” —, which may reshape at any moment its plastic vocabulary and grammar.
I see it as a good illustration of what repercussions our individual and collective behaviors do find upon the balance of our ecosystems. In this way, the tableaux programmés initiative can be seen as an ecological manifestation.
Tableaux programmés is a testimony to the individual/collective dialectics of natural forces, to the increasingly global perspective Science is casting upon our world — and to the necessary bond which must perdure between Art and Science.