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546:" (within the meaning of the Renaissance) in which the vanishing point lies, in the first case, in a physical center (the server), in the second in a "code" under cover of which the network is sharing information (its sign of recognition in some way). He speaks in the first case of a "temporal perspective" because it is in the center where emerges moment by moment the "proper time" of the network (its rhythmic pulsations). In the second case, he speaks of a "digital perspective" because it is a "code" (an arbitrary number) which is the guarantor of the emergence of the proper time of the network in each of its nodes. These two perspectives are of course not visual as is the case of the spatial perspective, but they share with it some topological and symbolic attributes. In particular, one can speak of "legitimate perspective", as
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244:) by design. This was done to prevent a single player from drawing figurative signs by themselves. The overall image is continuously formed in the style of a spiral, that is to say the sign of the first player occupies the whole image, and the signs of the newcomers are juxtaposed in the first winding around it, and so on. If a player forfeits the game, their sign immediately disappears and its position remains empty until another player occupies it. A zoom in/zoom out feature ensures that the image, constituted by the juxtaposition of all signs, is permanently visible to all the players.
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558:, implements these two non-visual perspectives, described by Oliver Auber as "anoptical perspectives," as perfectly and obvious as possible. Throughout the game, players can gradually take a cognitive step back, and by analogy grasp in thought the nature of the perspectives in question. The hypothesis of Olivier Auber is that these perspectives are exercised within the framework of "real" systems, opaque and complex as mentioned above, and that they shape the imagination and judgment, that is to say the
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observing and interpreting autopoietic phenomena, that is to say the "life", which takes place there. According to
Olivier Auber, there would be in the Poietic Generator, intrusion of eigenfrequencies, similar to those existing in other autopoietic systems (cell, cerebral cortex, etc.). Despite their apparent complexity, these temporal phenomena (oscillations between structure and chaos, complexity and simplicity) could be analyzed, even "mathematised", particularly in the light of the
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brought in a personal support to attempts to practice large-scale experiments using channels such as broadcast television stations, museums, public places, etc. Without listening and support from these institutional broadcasters, very few of these projects have been successful. Handicapped by its transdisciplinary or even "undisciplinary" nature, and naturally questioning the legitimacy of human organizations to which it is dealing with, the
573:. For Olivier Auber, the Poietic Generator, as a model and experience available to all, could contribute to "a certain conceptual knowledge (dianoia) of how the doxa is formed and exercised on us, especially through technology". At a time when technical objects are close to the body and are preparing to invade it, the Poietic Generator could help us by providing "a set of conceptual tools for the new "perspecteurs" (
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466:. It has also initiated various experiments with some communities, including some contributors of Knowledge (XXG). As a model, the Poietic Generator directly inspired the work of some architects, planners, social scientists and anthropologists. Indirectly, the Poietic Generator probably inspired many other artists and designers too.
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Since the 1990s, many scientists in all disciplines, mentioned the
Poietic Generator as a model which may help to rethink the cultural, even anthropological changing, latent in networks, and especially emphasized the urgency of a "redefinition of the notion of authorship". Some of these researchers
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of meta-levels: specifically the "becoming other". According to testimony, the
Poietic Generator has an amazing ability to immerse its players in a learning process of social phenomena: it gives not only the possibility to live a kind of "conversation", but in some degree, to access to its model by
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devices, quotes the
Poietic Generator as one of the few representatives of the "alteraction" devices category. These type of devices support processes of pure synchronous human communication, free from algorithmic control or introduction of external data. This alteraction process, envisioned as "an
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Every player draws on a small part of a global mosaic formed by the dynamic juxtaposition of those parts, which are manipulated by all the participants (eventually it will be possible for several thousand players to play simultaneously). Every player can therefore change the sign in their square,
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from 2002). At the request of various groups of artists, teachers or researchers, this led to several hundred recorded game sessions, some of them commented. In several of these sessions, 70 players participated simultaneously. Several experiments were in kindergarten, elementary and secondary
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The
Poietic Generator may be seen as a generic model of multiple complex systems (informational, urban, economic, ecological, etc.) to which everyone is confronted daily. But unlike these systems, often opaque about their prerequisites, their rules and infrastructure, the Poietic Generator is
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depending on the overall state of the image, which itself depends on the actions of all the individual players. Out of this cybernetic loop emerges a kind of narrative: autonomous forms, sometimes abstract, sometimes figurative, appear in a completely unpredictable manner and tell stories.
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in 1990 as part of the "Communication and monumentality" exhibition. Other museums, art galleries, digital public spaces, festivals, and international conferences, etc. then followed, including the 1991 "Communicating
Machines" exhibition by the
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protocol (case version 2). Therefore, no location in the network plays a particular role and according to the rules of the
Poietic Generator, an "all-all" interaction may take place without the intervention of any kind of control center.
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perfectly transparent: "everything is known or knowable", in particular the fact that it operates either centrally or without any center. According to
Olivier Auber, these two architectures, centered or not, are achieving some forms of "
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Since 1987, the
Poietic Generator directly inspired multiple variations and derivative works. Some of them developed by its original author based on his own research process, some of them by other artists and/or researchers, especially
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on the
Poietic Generator has never found any other field to flourish as the Internet itself. Nevertheless, the Poietic Generator and writings of its author are quoted in many academic thesis, and in at least one "100% plagiarized".
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However, it differs from these models in several respects. It is not an algorithm like Conway's, but human players who control in real time the graphic elements of a global matrix, based on one unit per person. Unlike the
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In other respects, many commercial games have partially taken up the principle of the Poetic Generator (the act of dropping one or more 2D or 3D pixels into a more or less synchronous collective space), notably The
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1024:, Catalogue de l'exposition « Machines à communiquer faites œuvres », La Communication, Lucien Sfez (éd.), Paris, Presses Universitaires de France et la Cité des sciences et de l'industrie, (1991)
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Attempts like this are crucial to emancipate the technology from the status a mere instrument for defined purposes, and to recognize the role that it should have as a creator of culture and practices.
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433:, who deals with the mechanisms of the "system of art" in several of her works, considers the Poietic Generator to be the prototype of a new "cognitive art". This new "cognitive art", following
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De nouvelles perspectives pour les « réseaux sociaux ?», conférence dans les cadre des « Entretiens du nouveau monde industriel », Centre Georges Pompidou, 4 octobre 2008 (
529:). Structuring phases corresponds to a "becoming other" (Quéau) and a greater "simplicity" (Dessalles). The emergence of these kinds of paradigm shifts would be both unexpected and
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and Xerox PARC), and at other laboratories. The subjects of the experiments were diverse: network protocols, the process of emergence of forms, human-machine interfaces,
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63:, there is no concept of winning or losing, the goal of the game is simply to collectively draw recognizable forms and to observe how people create them together.
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Elisa Giaccardi, Center for LifeLong Learning and Design (L3D), Department of Computer Science and Institute of Cognitive Science, University of Colorado :
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Saillenfest, Antoine; Dessalles, Jean-Louis; Auber, Olivier (December 22, 2016). "Role of Simplicity in Creative Behaviour: The Case of the Poietic Generator".
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1812:, published in Actes du séminaire interdisciplinaire de Sciences Cognitives et Epistémologie "Genèse des Représentations" - 01/1995 - p. 139-148, online on
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which invites a questioning of the processes of social interaction, especially when they are mediated by technological devices interacting with
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radio station to finance the mobile version of the Poietic Generator via the crowd-funded platform This version is currently online (2012).
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Since 1987, the Poietic Generator (various versions) inspired many experiments in diverse contexts. The first public experiment was at the
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at work in the continuous emergence of the global picture. Since its inception, the Poietic Generator has been designed as part of a wider
1009:- Mario Costa (ed.) (2005), Phenomenology of New Tech Arts, Salerno: UniversitĂ di Salerno (Catalog, pp. 56), WJ-SPOTS#1 (Paris 2009) -
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Announcement of a session on the Mbone (February 1996). Screenshot of the "session directory" (Lawrence Berkeley National Laboratory)
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Several experiments were performed on the periphery of academic research. For instance, experiments were conducted in particular at
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1298:, Proceedings of CADE '99, Third Conference on Computers in Art & Design Education”, University of Teesside, 7–9 April 1999.
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Chronologie historique résumée d'échanges artistiques par télécommunications. Les précurseurs, jusqu'en 1995, avant l'Internet
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This latest version is available on the web, via Android mobile phone, iPhone / iPad, via Facebook, and has a reference site.
2374:Étude sur une thèse 100% plagiée (diffusée pendant plusieurs années par l'ANRT) reprenant les textes d'olivier Auber :
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427:. Several French artists attempted somewhat similar experiments, but none of them had the durability of Poietic Generator.
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In practice, each player can draw (using a graphics tablet) on a very simple image. This image is limited in size (20Ă—20
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in Dossier Artmedia VIII, in "Ligeia", Paris, 2002, pp. 21-245 (CNRF journal, including Artmedia VIII Proceedings),
1208:: Arte telemática: dos intercâmbios pontuais aos ambientes virtuais multiusuário (Itaú Cultural:São Paulo, 2003.) (
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423:. The introduction of the Minitel in France, offered, for the first time in the world, an easy way to implement
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Charles Lenay "The poietic generator - interactive telecommunication artwork". Whole Earth Review. Spring, 1989
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40:
1248:/ Techno-Poetry and Virtual Reality, essai (Italian/English). Préface par Eugenio Miccini, Sometti. Collana:
577:) that we could all become" in order, he says, to "rethink the imagination of the technology in full light".
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The Poietic Generator runs on two types of architecture, a centralized network (for versions 1, 3, 4), or an
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Like in the Renaissance, art becomes (a) heuristic, a type of probe with the task to explore a continent.
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thanks to many contributors. The game takes place within a two-dimensional matrix in the tradition of
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Internet et globalisation esthétique. L'avenir de l'art et de la philosophie à l'époque des réseaux
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In attempting to uncover the "anoptical perspectives", the Poietic Generator positions itself as a
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Le copyleft appliqué à la création hors logiciel. Une reformulation des données culturelles ?
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Anoptikon : une exploration de l'internet invisible : Ă©chapper Ă la main de Darwin
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https://web.archive.org/web/20020605145918/http://perso.enst.fr/~auber/sommaireA.html#statut
415:, before the invention of the Web (1994), and implemented from 1995 onwards on experimental
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The most recent event was in the spring of 2011 when 70 people responded to a call on the
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Mediators in Visual Interaction: An Analysis of the “Poietic Generator” and “Open Studio”
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Olivier Auber, la perspective numérique, in Technology Review, MIT Ed. mars-avril 2008
1386:, vitrail monumental dessiné collectivement par minitel, (Jean-Claude Anglade) 1987. (
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2322:
L'art numérique: médiation et mises en exposition d'une esthétique communicationnelle
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1620:"Workshop Report on Creativity Support Tools, National Science Foundation, June 2005"
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1639:, Centre for Social Anthropology and Computing, University of Kent Canterbury 2012.
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Since 1997, the Poietic Generator is accessible to everyone on the web as a work of
332:(where Olivier Auber was a guest artist between 1994 and 1997), during the Internet
1991:
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Prior the free art license (2000), the Poietic Generator had its own free license:
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Olivier Auber : Perspectives anoptiques : théorie et applications, ibid.
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Recording of an experiment with the "Elmediator" digital public space (2005-03-23)
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Prospects for Extending User Capabilities Beyond Mixed, Dual and Blended Reality
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445:, re-institutes the task of questioning again, and in a more radical way, the "
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726:"Explaining Exquisite Corpse, the Surrealist Drawing Game That Just Won't Die"
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Olivier Auber, independent researcher, member dof the research cluster of the
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608: – Systems concept which entails automatic reproduction and maintenance
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Art Libre : Un enchevêtrement de réseaux discursifs et créatifs ?
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Création collective et émergence de signes : l'oeuvre d'Olivier Auber
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1955:(PDF)], rapport au Ministère de la Culture et de la Communication, 1999 (
1848:, "The Aestetic of the Digital Perspective", Artmedia VIII, Paris, 2002 (
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Recording the first real-time group interaction without any center (1996)
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675:"Evolution, Complexity and COgnition" (ECCO), Vrije Universiteit Brussel
638: – art projects using computer-mediated telecommunications networks
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Sémiotique de la représentation de soi dans les dispositifs interactifs
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1185:: CRONOLOGIA DE EXPERIÊNCIAS ARTÍSTICAS NAS REDES DE TELECOMUNICAÇÕES (
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First permanent urban display, Rue du Chien Marin, Brussels. Dec. 2013.
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The Systemic Image: A New Theory of Interactive Real-Time Simulations
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Examples of recent works using some Poietic Generator's principles:
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recognize the Poietic Generator as one of the historical works of
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1828:, MIT Press (2016) - p. 28, 29, 283, 326, 327, 386. Available on
1441:(lauréat du concours du symbole France-Japon, Paris-Kobé, 1988),
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795:"gp" IP Multicast version of the Poietic Generator, developed in
387:, Jean-Paul Fourmentraux, Louis-José Lestocart, Elisa Giaccardi,
1131:. A call to finance the mobile version of the Poietic Generator
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Poietic Generator reloaded, l'aventure peut (re)commencer !
673:, affiliated since 2012 to the interdisciplinary research group
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schools (including one experiment linking multiple classrooms).
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Derivative experiment: Knowledge (XXG) Watchlist, 2006/2008, (
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Grandeur et déchéance programmée de l'art numérique en France
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Reception by the institutions of research, culture and media
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Vidéotex version for the Minitel system (1987): deprecated.
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Esquisse d'une position théorique pour un art de la vitesse
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632: – Greek word meaning common belief or popular opinion
1435:
Olivier Auber, derivative works of the Poietic Generator:
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Networked Art Works in the Formative Years of the Internet
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1036:, Jean-Michel Cornu, FING & Fyp Editions, oct. 2008. (
411:. Note that the Poietic Generator was born at the time of
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The name "Poietic Generator", derived from the concept of
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Poietic Generator classroom experiment in Brussels (2013)
1975:
Some scientists supporting the Poietic Generator :
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A petits pas vers l'annonciation, ballet pour angelinos
1844:, Revue d'esthétique 43 - 07/2003 - p. 127, online on
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Perspectives anoptiques : théorie et applications
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16:
Social network game played on a two-dimensional matrix
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Art et Internet. les nouvelles figures de la création
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ProspecTic, nouvelles technologies, nouvelles pensées
626: – Mathematical models of strategic interactions
2294:
Jean-Davis Boussemaer, Université Grenoble 3, 2003 (
1406:, PUF, collection « Lignes d'art », 2006.
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Pages displaying wikidata descriptions as a fallback
187:
Recording of a web experiment, X-00 festival (2000)
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Each player draws on one element of the total matrix
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BREAK21 festival - Ljubljana, Slovenie, 11 mai 2000
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intermediate action which makes one become other" (
2271:, Isabelle Lassignardie, Université de Pau, 2003 (
1842:Du Générateur poïétique à la perspective numérique
1276:Epistémologie de la complexité et art contemporain
944:The exhibition "Communication and monumentality" (
504:), lies outside the field studied by the general
495:Jean-Paul Fourmentraux, in his classification of
31:in 1986, and developed from 1987 under the label
647: – Art that uses the Internet as its medium
371:Several art historians and theorists, including
258:distributed network capable of implementing the
2307:Mario Costa et l'esthétique de la communication
989:art en ligne · art en réseau · art en mouvement
969:Festival X-00, Lorient, France, 16-19 mars 2000
761:
759:
948:, 1990) presented the seven laureates of the
705:http://poietic-generator.net/blog/?page_id=91
8:
2255:, Antoine Moreau, Université de Nice, 2011 (
1953:Culture visuelle et art collectif sur le web
1700:Metaxu : théorie de l'art intermédiaire
508:, as its branch covering multiplayer games (
2309:, Amélie Hamon, Université Paris I, 2006. (
2269:Le Net-art, témoin d'une ère post-nationale
653: – Online social experiment on Reddit
2286:Cécile Wekler, Université Paris 3, 2006 (
1764:
1714:Modèles dynamiques en Sciences cognitives
1702:, Editions Champ Vallon, 1989 - 337 pages
956:. The Poietic Generator was one of them:
2332:, Julien Piedpremier, Paris VIII, 2005.
703:Poietic Generator's contributors :
1635:Sally A. Applin & Michael Fischer:
1346:edited by Judy Malloy, MIT Press, 2016.
1133:(KissKissBanBank crowdfunding platform)
662:
114:
1824:As discussed by Inge Hinterwaldner in
1791:
1780:
1339:Art and Minitel in France in the 1980s
1252:, Comune di Mantova, Sometti (I) 2002.
391:and Norbert Hillaire, Annick Bureaud,
1597:Atelier urbain du Grand Paris :
1408:Que sais-je ? L’art contemporain
1296:Interactive Strategies of Network Art
1278:, Collège de France / PLASTIR, 2007 (
338:Lawrence Berkeley National Laboratory
39:and its principle is similar to both
7:
2355:, Eric Le Maillot, Groupe EAC, 2006
1462:@rbre (open collective memory), 2000
2353:Art Internet, anatomie de l'echange
2347:, Charlotte Bruge. Lille III, 2003
1422:, Ă propros of "cognitive art" in
1344:Social Media Archeology and Poetics
620: – Taxonomy of game activities
323:Cité des Sciences et de l'Industrie
278:IP Multicast version, developed in
151:Interface, Multicast version (1994)
1951:Anne Sauvageot et Michel LĂ©glise,
974:Théophanie assistée par ordinateur
927:http://poietic-generator.net/blog/
863:http://play.poietic-generator.net/
127:Illustration of the concept (1988)
14:
2393:Poietic Generator (official site)
1746:simplicitytheory.telecom-paris.fr
823:IP Unicast version, developed in
562:of those who are enrolled in it.
289:IP Unicast version, developed in
211:Mobile phone user interface(2012)
2324:, Lauren Malka, Paris IV, 2005.
2263:, Fanny Georges, Paris I, 2007 (
987:Musée Royal de Mariemont :
724:Gotthardt, Alexxa (2018-08-04).
228:
216:
204:
192:
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168:
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144:
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2292:L’interactivité dans le Web-art
267:Videotex version, developed in
116:Images of the Poietic Generator
1444:Le Trésor des Nibelungen, 2001
1410:, PUF, 9eme Ă©dition, mai 2009.
1246:Tecno-Poesia e realtĂ virtuali
1228:, Paris, L'Harmattan, 2003. (
554:. The Poietic Generator as an
516:) which does not consider the
93:), illustrates the process of
1:
2284:Quand un média devient médium
1265:, Paris, CNRS Editions, 2005.
1250:Archivio della Poesia del 900
101:to create an "Art of Speed".
2377:Archéologie du copier-coller
1994:(urbanism and philosophy) -
1457:NibelungenMuseum, Worms 2001
840:Mobile version developed in
753:, Olivier Auber, SPEED 1997.
614: – Concept in semiotics
296:Mobile version developed in
2213:Sandra Travers de Faultrier
1467:Tourouvre 2006, Québec 2008
1438:L'Anneau France-Japon, 1988
1075:(perspective-numerique.net)
2452:
1683:Les Dispositifs du Net Art
1472:L’Invisible Monument, 2002
1404:Fréquenter les incorporels
1328:, Éditions Flammarion 2003
2112:Isabelle Rieusset-Lemarié
1669:Interactive documentaries
861:Play over the web :
2133:(history of sciences) -
1680:Jean-Paul Fourmentraux,
1261:Jean-Paul Fourmentraux:
805:Telecom ParisTech server
2129:(history of sciences),
2099:(cognitive sciences) -
2009:(history of science) -
1934:lettre de soutien, 1995
1891:Auber, Olivier (2019).
946:Centre Georges Pompidou
472:Million Dollar Homepage
419:networks foreshadowing
367:Position in art history
344:, group behavior, etc.
342:collective intelligence
318:Centre Georges Pompidou
2127:Michel Tibon-Cornillot
2084:(history of science)-
1790:Cite journal requires
1514:l’Agrégateur Poïétique
1274:Louis-José Lestocart,
909:"Générateur Poïétique"
829:Olivier Auber's server
679:Global Brain Institute
588:
455:
113:
78:in philosophy of art (
2401:Perspective numérique
2235:Olivier Auber :
2221:Jean-François Colonna
1840:Olivier Auber :
1725:Olivier Auber :
1426:, PUF (2009), p. 123.
999:Texte d'Olivier Auber
584:
451:
108:
41:Conway's Game of Life
2170:(artificial life) -
1600:La cité bionumérique
1488:Elen S. Riot :
1449:Boston CyberArt 2001
1005:IX (Salerno 2005) -
997:VIII (Paris 2002) -
952:contest launched by
527:Jean-Louis Dessalles
464:fr:Albertine Meunier
2082:Jean-Pierre Le Goff
1775:2016arXiv161208657S
1742:"Simplicity Theory"
1661:Bar chart for words
1022:Jean-Louis Boissier
950:France-Japon Symbol
827:for the Web (1997)(
618:Game classification
486:Theoretical aspects
25:social-network game
2362:2014-11-29 at the
2339:2010-03-26 at the
2330:Les grandes images
2316:2012-10-13 at the
2301:2008-11-19 at the
2278:2014-12-02 at the
2207:2014-11-29 at the
2192:2014-11-29 at the
2177:2014-11-29 at the
2166:2014-11-29 at the
2155:2014-11-29 at the
2140:2014-11-29 at the
2121:2014-11-29 at the
2106:2014-11-29 at the
2091:2014-11-29 at the
2076:2014-11-29 at the
2061:2014-11-29 at the
2046:2014-11-29 at the
2031:2014-11-29 at the
2016:2014-11-29 at the
2001:2014-11-29 at the
1986:2014-11-29 at the
1962:2010-09-11 at the
1939:2014-11-29 at the
1868:2013-06-18 at the
1808:Lenay, C. (1988):
1659:, SIGGRAH, 2006),
1605:2012-07-01 at the
1562:2012-04-02 at the
1549:2012-04-02 at the
1537:Derivative works (
1519:2013-05-09 at the
1495:2012-05-24 at the
1424:L'art contemporain
1305:2014-05-17 at the
1192:2009-04-25 at the
1170:2014-05-17 at the
1156:2013-10-18 at the
1138:2012-09-28 at the
1114:2014-12-10 at the
1092:2013-04-26 at the
1060:2014-07-08 at the
932:2012-06-23 at the
810:2015-09-24 at the
774:2014-01-07 at the
765:Olivier Auber, in
710:2012-05-20 at the
510:coordination games
293:for the Web (1997)
70:in life sciences (
2379:, Jean Noël darde
2054:(digital arts) -
2037:Jean-Pierre Dupuy
2007:Isabelle Stengers
1930:Isabelle Stengers
1908:978-2-36405-181-2
1665:Martin Wattenberg
1569:Albertine Meunier
1507:Derivative work (
1107:Place de la Toile
889:"Iphone/Ipad App"
799:for the Internet
523:simplicity theory
514:cooperative games
336:experiment (with
330:Telecom ParisTech
282:for the Internet
105:Rules of the game
95:self-organization
21:Poietic Generator
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2223:(mathematics) -
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2183:Philippe Coiffet
2022:Bernard Stiegler
1977:Francisco Varela
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353:Free Art License
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72:Francisco Varela
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2024:(philosophy) -
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1711:Jean Petitot,
1704:
1696:Philippe Quéau
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1979:(biology) -
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27:designed by
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2431:Digital art
2426:Net.artists
2398:(in French)
2097:Pierre LĂ©vy
2067:Fred Forest
1544:BIG PICTURE
1374:Example of
1357:Judy Malloy
1222:Mario Costa
1151:Don Foresta
677:and to the
624:Game theory
606:Autopoiesis
552:Renaissance
550:did in the
544:perspective
443:Andy Warhol
397:digital art
393:Judy Malloy
381:Mario Costa
373:Don Foresta
312:Experiments
87: [
80:Paul Valéry
68:autopoiesis
61:board games
45:surrealists
37:board games
2436:1986 works
2420:Categories
2052:Roy Ascott
1917:1099538243
1766:1612.08657
1653:Cinematrix
1582:WebArchive
1477:Metz, 2003
846:JavaScript
735:2020-04-28
658:References
556:Ideal city
439:Yves Klein
302:JavaScript
74:), and of
2406:Anoptique
2161:Louis Bec
1453:ISEA 2001
803:(1995): (
518:emergence
491:Modelling
476:Minecraft
449:of art".
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