Gregory Chatonsky
Since the beginning
Works in Montreal Canada

PORTFOLIO (69)
BIO
Gregory Chatonsky was born in Paris in 1971. He studied art at college, philosophy at the Sorbonne and digital art in ENSBA Paris. He founded in 1994 incident, a collective of artists on the Internet. He teaches digital art at universities and art schools such as Paris IV, The Fresnoy or UQAM.
His work focuses on fiction, flows and destruction. He works with a variety of analog and digital media by questioning the relationship we have with technology.
He lives in Montreal and Paris.

http://chatonsky.net
Discussions (1) Opportunities (2) Events (49) Jobs (0)
EVENT

CICV is closed. France Culture Radio.


Dates:
Wed Sep 01, 2004 00:00 - Mon Aug 30, 2004

20:30
Culture plus

Interview of Pierre Bongiovanni and Gregory Chatonsky by Arnaud Laporte about the end of CICV and the status of computer art in France and Europe.

http://www.radiofrance.fr/chaines/france-culture2/emissions/cultureplus/index.php?emission_idE060150
http://www.cicv.fr


EVENT

Translation / Traduction - Incident.net @ Basekamp (Philadelphia)


Dates:
Sat Sep 18, 2004 00:00 - Sun Aug 29, 2004

18.09.2004 > 31.10.2004

TRANSLATION / TRADUCTION
http://www.incident.net/events/translation/

Basekamp 723 chestnut st, second floor, Philadeplie, pa 19106
Opening and performance 18.09.2001
Philadelpha : 16:00 | Paris : 22:00

With:
The revolution took place in New York by Gregory Chatonsky
Googlehouse, The Inhabitants by Marika Dermineur
Des Fleurs, Om, Incidence by Reynald Drouhin
Ladies by KRN
Ram, Submission, Extract by Julie Morel
Dialogues by Michael Sellam

with the funds from Etant donnes (The French-American Fund for Contemporary Art) / AFAA.

On our screens and in our existence, 0 and 1, an unbroken serie of numbers translate our sensations into images, texts and sounds. From identical elements, have emerged a complex perceptive web.

Translation is a problematic which allows us to question the deep ambivalence in the digital. On one hand Digital constrains various medias (images, texts, videos, etc.) into a unique language formed of 0 and 1, which makes it translatable in a literal way, on the other hand an exact translation is impossible.

Then how can we translate, i.e. interpret the behaviour of the viewer in an interactive system? How can we translate a text into an image in order to construct a story? What are the places that allow us to go between technologies and our affects? Is the simplicity of binary language a source of inaccurate translations, separation effects and shifts, which would open new and unpredictable significance? Translation incidents offer a world of possibilities and it questions the disjunctive relation between an aesthetic system and the very plural public. Is Art a foreign language, impossible to translate? What is the resistance of translation?

Is it the transfer from one language to another that allows the significance to be transmitted? And isn’t thought always dreamt as translatable[1]?

Can the signifier and signified be divided? And if some untranslatable exist, isn’t it the absolute dream of peculiarity, a sort of absolute unique form? But translation must take place, therefore an impossible possible. One can and has to translate, especially when it is possible.

One speaks easily of the impossibility of translation. It is a current experience for a translator to find that task impossible. This possibility is thought in continuity with difficulty, and the difficulty starts with the first sentence. For the translator translates events before translating words. Even a word is already being carried away by the sentence, the syntax. In this difficult angle, the heroic and angelic task of a translator is so hard that it becomes too difficult to carry on. It is impossible.

But this impossibility defies the possibility of translation. In continuity with it, nothing is translatable, nothing is untranslatable.

Another impossibility exists, or a new order of impossibility, both more simple and more radical, which would have nothing to do with difficulty, but it is a rather silly one. Here it goes: when the language of a text is remarked/noted as a natural language, it can’t be translated. A simple sentence: « Cette phrase est en francais » (this sentence is in French). The words “cette phrase” refer to this sentence where these words are, it cannot translate because its meaning is mixed with its truth in act. The sentence does not cause any problem of meaning, it is not hard to translate, it is impossible.

This capacity of a language to be itself happens every time it uses the idiom. For example “apprendre par coeur” (to learn by heart). The language curls itself up its idiom, tries to protect her identity, and it is that which invites and calls a mechanical[2] way which would not be called translation anymore.

Another example is Bilingualism: The studies related to bilingual phenomenon are various[3]: There are Julien Green, Samuel Beckett, Vladimir Nabokov and Franz Kafka as examples of auto-translation. Beckett writing at the speed of the thought in a language which is not his, as if the thought - this speed of interiority - was always foreign.

Gregory Chatonsky

[1] Jacques Derrida, « Donner du temps » (de la traduction).
[2] Many translaters are online, for example : http://tr.voila.fr.
[3] To quote only some of them : « Bilinguisme et contact des langues », by William F., Klincksieck, 1977, « Attitudes et representation liees a l’emploi du bilinguisme », by Maurice Riguet, Publications de La Sorbonne, 1984.


EVENT

Gregory Chatonsky at Panorama 5 , Le Fresnoy (Tourcoing, France) / june 11 > july 6 2004


Dates:
Fri Jun 11, 2004 00:00 - Tue Jun 01, 2004

Se toucher toi" first exhibition at Panorama 5 (http://www.panorama5.net).

"Se toucher toi" is an installation in two spaces of exhbition and on Internet.The device consists of a play with three:one enters a part and one sees the video image of a calm landscape.One then handles the mouse placed in the vicinity and the hands of a man and a woman start to be cherished.We play with this representation of the contact made possible by the displacement of our mouse.Then the two hands are concealed with our capacity and are driven independently of our manual movement.It is that elsewhere, on Internet or in another geographical space, a double of the installation functions and that another person handles the device.¶We thus see the result of this operation, understanding in return that when we had seen our own displacement, other spaces diffused it.We take "the hand " on each place.

http://incident.net/works/touch/


EVENT

INCIDENT.NET & STILL LIFE SELECTION (SCAM, Paris)


Dates:
Thu Jun 03, 2004 00:00 - Fri May 28, 2004

The President of The Scam
& Incident.net Team
Are pleased to invite you to the projection of:

INCIDENT
http://incident.net

New version of INCIDENT.NET & STILL LIFE SELECTION will be presented at
the SCAM in Paris.

Suspend the stream of the network. One moment. Produce perceptions, waste
time, give it. Infer differences and dissonances, interferences. No
information to be found, suspension of the instrumentality: a perceptive
drift. Leave of the medium and look for the language, write. Appropriate
computer programming as Logos rather than as Ratio. Interrogate
articulation between the affectivity and the machine, our prosthesis.
Articulate plastic, narrative, structural, informative, social parameters.
Work alone or with the others on a given theme. Introduce the other into
the process of production as part of the network and the anonymity.
Incident in the sense of incidence, the tiny resists in the cybernetic
megapole.

Price of The Scam Web Site 2003.

On June, the 3rd, at 8 pm
At the Scam:
5, avenue Velasquez
75008 Paris
Metro Villiers / Monceau

Projection + cocktail


EVENT

Lecture / DISORIENTATIONS OF THE NETART / Web : espaces de navigation, objets dexploration / 05.13.2004 / Paris 8


Dates:
Thu May 13, 2004 00:00 - Mon Apr 26, 2004

http://h2ptm.univ-paris8.fr/webnav/

DISORIENTATIONS OF THE NETART
TECHNOLOGIES AS PHANTASMS, AFFECTS AND GHOSTS
1/ON THE FLOW
2/THE WORLD OF USER'S MANUAL
3/SPACE COUNTERS TIME
AVAILABILITY, ACCESSIBILITE AND CONSUMPTION