“Paroles de…” 2007
Murmur, shout, sigh, speak, be silent, hum, sing, whisper … Poetry needs decibels to bloom! Paroles de… is a project that triggers a dialogue between sensitivity and programming. It was devised to observe what “word-particles” become, as well as the visual evolution of various pictures according to ambient noises, “sound actions” of visitors and time. It comprises six interactive pictures: Paroles de sérénité (where silence generates words), Paroles de révolte (device feeding on noise), Paroles de doute (to retain or remove incongruous words), Paroles de lunatique (based on cries and sighs), Paroles de tendresse (if spectators blow on a dandelion, tender sentences appear) and Paroles de détresse (where drops of water generate words). Paroles de… is part of the absurd, Dadaist and Lettrist poetic tradition, approached with a new methodology relating to the new media.
“Equations Lyriques” 2010
With language being the “mirror of the human mind”, can a soulless object such as a computer still produce meaning? By providing the computer with grammatical and lexical structures, the work generates intelligible thoughts the way the human brain does. Words follow one another randomly, determined by the programme’s grammatical rules and the lexical field they are stemming from. They modify, in real time, the cognitive states of the sentence. The programme develops an infinite number of possible sentences, from the absurd to the meaningful, on a quest for the signified. Equations Lyriques consists of two “linguistic machines”: Oracle and Journal de Bord.
Born in 1982, Jérémie Dres lives and works in Paris. He is an Arts Décoratifs de Strasbourg graduate. There, he studied the visual didactic relating to the specific issues and stakes of the transmission of skills, culture, knowledge and education. In his artistic work, Jérémie Dres focuses on the relationship between computer languages and living languages. His work reveals a form of artificial life, algorithmic organisms, which react to exterior phenomena.
