Our work can be resumed in two words: we work in order to enlarge situations of enunciations of images. We mediate these situations.
Situations of enunciations not to be confused with historic situations. One finds an exemplary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter 2003, Eric Alliez and Toni Negri, Peace and war). Our interest for architecture in the actuality is also immediate. We lived there an adventure of the gaze.
We try to touch upon changes of aspects of territories, which are not changes of form. How to cross these changes in the field of sensations? If I say that I see this and that in a certain way, I am still on the plan of the changes of aspects. But if one asks, "how do you see this or ths. We mediate these situations.
Situations of enunciations not to be confused with historic situations. One finds an exemplary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter 2003, Eric Alliez and Toni Negri, Peace and war). Our interest for architecture in the actuality is also immediate. We lived there an adventure of the gaze.
We try to touch upon changes of aspects of territories, which are not changes of form. How to cross these changes in the field of sensations? If I say that I see this and that in a certain way, I am still on the plan of the changes of aspects. But if one asks, "how do you see this or ths. We mediate these situations.
Situations of enunciations not to be confused with historic situations. One finds an exemplary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter plary articulation between these two plans, for example in Catherine David's current proposal: a website for Iraqi artists. In this gesture, it is question of articulating a situation of enunciation with a historical situation, to mediate it in a format, that of a website. (Witte de With, Contemporary Arab Representations, In-Betweenity, www.inbetweenity.com, website launch, June 2004).
The situation of enunciation has as a main characteristic: its unpredictability. It is limited every time, in every enunciation, in unexpected perimeters. Every time an image occurs, the enunciation "begins again or commemorates itself but does not get repeated" (Michel Foucault).
One can already find there an experiment that one wishes to extend to the world: "the organization of the world in a theatre of operation for a total war aiming for a total peace?" (Multitudes, Issue number 11, Winter 2003, Eric Alliez and Toni Negri, Peace and war). Our interest for architecture in the actuality is also immediate. We lived there an adventure of the gaze.
We try to touch upon changes of aspects of territories, which are not changes of form. How to cross these changes in the field of sensations? If I say that I see this and that in a certain way, I am still on the plan of the changes of aspects. But if one asks, "how do you see this or that", the question brings us back to situations of enunciations therefore to relations tying up.
One can say that all our devices contribute to ask this question: "how do you see this or that?" It is the display of this inquiring form that interests us.
To place ourselves on this plan, we use non-cinematographically techniques of montages, which questions permanently the gaze. There is a whole relation of the image to the gesture sterilizing expectations, convenient to open up the way to an interpretative gaze.