Sep 24, 2009
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Camille, Andrew, Katrina et cie (2009)

WEBSITE : http://daniel.basicbruegel.com/upload/camille/fr.html

 


• 2009 Camille, Andrew, Katrina et cie, Video installation, Volet arts médiatique, GSN-Ficfa

Camille, Andrew, Katrina et cie est une histoire de personnification d’ouragans. Les Katrina, Ivan, Andrew et Camille du passé débarquent à Pensacola afin de préparer le terrain pour le prochain ouragan. Ted, le héros de l’histoire, se retrouve mêlé à toutes ces machinations et tente de sauver sa ville d’un désastre certain.

 

J’ai voulu, depuis le tout du début du projet, raconter quelque chose qui pourrait être vu et lu de plusieurs façons. C’est une vidéo et c’est aussi une installation-vidéo. Le résultat est un travail qui est à cheval entre la pièce radiophonique et la vidéo expérimentale.
L’installation est composée d’une projection au mur, d’une table avec les accessoires qui ont été utilisés durant la production ainsi que d’une copie Française et une autre Anglaise du scénario. La présence de flux sonores indépendants (narration et effets sonores) de sous-titre anglais et d’un autre sous-titrage composé de notations qui réfèrent à la copie papier du scénario, fait en sorte qu’il est possible de présenter ce travail de plusieurs façons.
Les 33 séquences sont disponibles sur  VIMEO


Camille, Andrew, Katrina and Co. is a story based on the personification of hurricanes. The ‘old storms’ Katrina, Ivan, Andrew and Camille come to shore in Pensacola to prepare the ground for the next hurricane. Ted, the hero of the story, finds himself involved in all these machinations and attempts to save his city from certain disaster.
From the very beginning of the project, I wanted to tell a story that could be seen and read in several different ways. This is a video and it is also a video installation. The resulting work straddles radio drama and experimental video.
The installation consists of a wall projection, a table with props that were used during production, as well as a French and English copy of the script. The presence of independent audio streams (narration and sound effects), English subtitles, and another subtitle stream made of notations that refer to the screenplay, makes it possible to present this work in several ways.
All of the 33 sequences are available at VIMEO


Videos also available on YouTube

 

Brochure Camille, Andrew, Katrina & Cie

Apr 6, 2009
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Prairie Tales 10, Alberta Film and Video on Tour

I drove, this first weekend of spring, to Fredericton, New Brunswick to screen the 10thedition of Prairie Tales.  The NB film Coop, who was hosting the presentation, has been a supporter of the project for some time. The cultural centre, where the Coop has its offices, was very busy as there were a number of others events happening in the building concurrently.  This abundance of activities probably contributed to a smaller turnout.  Nevertheless one member of the audience drove over two hours to see the works!  And that is saying a lot as the highways were invaded by hordes of deer!

One of the things I love about Prairie Tales is its diversity of genre and approach but what really strikes me, this year as in previous years, is the creative energy and artistic ability that can be found in Alberta.  By viewing the program one can feel that there is a vigorous discourse that is being nurtured.  The screening prompted discussions about film, video, networking, and the media arts across Canada.

In the darkness of the Doodles Café, where the screening took place, I felt something that I never felt before.  As I was looking at the program, I was seeing markers; landscapes, back alleys of Calgary and Edmonton, and in this familiarity of surroundings, I felt homesick!  Alberta, and more specifically Calgary, has been my home, on and off, for over 15 years.  I have recently relocated to Moncton, New Brunswick, my other home.  I am very proud to have been part of this year’s selection but I also feel privileged to have been able to contribute to the artistic vitality of the amazing place that is Alberta!

March 30, 2009 -Moncton NB

Prairie Tales 10
The latest collection of short film and video works by Alberta media artists.
Presented by Edmonton’s Metro Cinema Society.

 

Dec 7, 2008
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Lettre à la Gouverneure Générale (2008)

Madame la Gouverneur générale

Je suis déçu d’apprendre que vous avez accordé à Monsieur Harper l’autorité de fermer le Parlement.  Tristement on dirait une scène de Ubu Roi.  Le Premier Ministre, incapable de mesurer la gravité de ses actions a créé une situation explosive.  Nous voilà du coup replongé dans des tiraillements régionaux sans fins et ce en plein milieu d’une crise économique mondiale.  La hargne des conservateurs envers les députés du Bloc Québécois est un geste abject qui n’a pas sa place dans une démocratie.  La prochaine étape est sûrement de les proscrire, de les chasser de la colline.  Notre Premier Ministre n’est pas un rassembleur, il est de ceux qui attisent les divisions.  Régner par la dissension n’est pas une nouveauté, ce qui est nouveau ici c’est votre soutien, votre approbation.

Je suis bouleversé quand je regarde le comportement arrogant de Monsieur Harper.  Je suis consterné quand j’entends le discours aliénant des conservateurs. Quelle fourberie! Je pense aux jeunes qui regardent ce qui se passe et je me dis que ce n’est pas un très bon point de départ, que ce n’est pas une belle éducation.  Une des priorités de votre mandat est le programme jeunesse.  Vous encouragez les jeunes « à tisser des réseaux de solidarité entre eux et à s’allier la collaboration des autres générations dans leurs projets »  En soutenant le gouvernement vous encouragez la jeunesse à s’abîmer dans le désillusionnement.  Si la démocratie peut si facilement être détournée, ici chez nous, au Canada, quelles sont les chances pour quelle puisse vraiment exister ailleurs?

 

Jul 9, 2008
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Camille, Andrew, Katrina et Compagnie (2008)

• Galerie d’art Louise et Reuben-Cohen de l’Université de Moncton, NB, 9 juillet – 31 août 2008

Camille, Andrew, Katrina et Compagnie
Projection vidéo – 120 minutes

CAMILLE, ANDREW, KATRINA ET COMPAGNIE est une projection vidéo d’une narration d’un scénario long métrage fiction en français. L’histoire est celle de Ted, un type jovial et plein d’entrain. Il est représentant d’assurances et demeure en Floride. Sa compagnie s’apprête à tenir une convention nationale. L’atmosphère est fébrile. Ted sait qu’un hommage lui sera rendu afin de souligner son volume de ventes. Il anticipe cette soirée avec beaucoup d’impatience. Le jour de l’arrivée des délégués en ville, Ted a la sensation que quelque chose de grave est sur le point de survenir Le moindre bruit l’inquiète. Il surréagit au moindre obstacle. Il est anxieux. Lors du souper d’ouverture offert aux délégués, il note que sur les portes noms des convives à sa table, Cindy, Dennis, Alex, Gil et Claudette sont tous des noms d’ouragans. Ted est convaincu qu’une grande catastrophe est sur le point de surgir mais est incapable de partager sa prémonition avec qui que ce soit.
Le projet contient 6 épisodes dont deux furent montrés à la Galerie Louise-et-Reuben-Cohen de L’Université de Moncton à Moncton au Nouveau Brunswick du 9 juillet au 31 août 2008.

Jul 9, 2008
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Hurricane People – Le monde ouragan (2008)


• Galerie d’art Louise et Reuben-Cohen de l’Université de Moncton, NB, 9 juillet – 31 août 2008

ELIPSON (image above) – 36″ X 24″ inkjet
BETA -36″ X 24″ inkjet -jet d’encre
FRANCES – 36″ X 24″ inkjet -jet d’encre

 

Mar 17, 2008
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This is art VS This is not art (2008)

8:44 am
The cold is intense.  My walk to the College is like an expedition.  My head is in there, somewhere under the layers.  As I breathe frost is forming on my scarf and face.  I feel the cold creeping into my fingers and back.  It is starting to get in through my boots.  Under my hood, all I hear is the resonating squeak of my footsteps like a walk in Styrofoam moon boots.  It hurts.

8:49
The SAIT campus is already bustling with people.  We look like steam engines, puffing white clouds of life that freeze in mid air.  I think it’s minus 40C.
Choo! Choo!

8:52
Horror!  I spot a conductor/student walking leisurely.  His steam is thick like molasses.  He isn’t even wearing a tuque.  He has a jacket with a hood but he is not covering his head!  His face is calm.  The man appears to be immune to pain.  I am thinking, he looks like me in July…

8:53
As I continue, I think that the man must have lost his power of thought.  Then, it strikes me that I am witnessing a performance, an art performance.  As Laurie Anderson once played violin while her standing with her ice skates frozen into a block of ice, I interpret that this man was doing something amazing.  I just didn’t realize it at the exact moment.

8:57
I arrive – I have made it!  I am finally at ACAD.  The warmth of the mall hits me like a wall of bliss.  Others have arrived at the same time; all look stunned by the brutality of the cold.  We move slowly while our clothing regains some sort of flexibility. The mall is filled with the wonderful works of the First Year Studies Exhibition.  Near the elevators, there are a few men kneeling down beside their buckets of cement.  They are busy repairing broken tiles and have set up a barricade with yellow tape.

9:36
On my way to the Faculty lounge I notice that the monitor of the Diversity booth, which sits in the middle of the Mall, is sporting a black label stuck in the middle of the screen.  The label has been made with an old label maker and the white letters state: THIS IS NOT ART.  I gaze around the mall before reading the label again.  My first thought is that the label points conceptually to surrealist René Magritte’s painting, The Treachery Of Images*.  This is after all, an Art school, throbbing with ideas.  Satisfied, I continue to the Faculty Lounge.  Then…

9:49
I have this weird feeling that maybe the statement on that label was not so layered, not so complex.  Maybe someone, here in the innards of this laboratory, needs to have things labelled according to the TELL ME WHAT IS THIS book.

10:31
Time flies.  My Sound I class is finishing the set up for a laptop performance in the arthole.  Things are going well in the placement of two tables, a P.A. system, and with an orderly jungle of cables and adaptors, 8 laptops have been wired up and are ready to go.  Tim from the AV has been helping us.  The idea for our performance is to sample sounds with a microphone and create real time loops with the material.  As there are 8 loops created at any moment it becomes clear that this is as much a sonic experimentation as an exercise in listening.

11:12
We have been creating texture and rhythm for 30 minutes now.  Some of the results are curious, some are engaging, and some make for difficult listening.

11:13
The group has developed a minimal soundscape, almost inaudible, which makes the ghetto blaster of the café overpowering.  After a while I decide to ask the café staff to lower its music.  The person I ask looks at me without speaking.  Without words, the message to me is of the unhappiness of being forced to listen to sound art.  The unspoken words might be that the sound experiment is cutting into the musical dreamscape.  I thank him for lowering the sound of the ghetto blaster.

11:14
On my way back to the laptop area, I realize how bizarre this non-comment is.  I mean this is an Art school.  This is a ‘laboratory environment that is committed to unconstrained inquiry’.  I begin to wonder many students, here at school, boast a dislike for abstract painting over landscape painting, or for curved shapes over square angles, or for lights that are not of the hue prescribed in the TELL ME WHAT IS THIS SO I CAN MAKE SENSE OF IT book.  If there is aesthetic intolerance here, one can only imagine how dangerous it is outside of the lab.

11:40
The performance is over.  We have taken all of the equipment down.  On our way back to the fourth floor I notice that the workers who were repairing the broken tiles are gone.  They have left warnings on the barricade.  The warnings state: DO NOT TOUCH.  THIS IS NOT AN ARTWORK.

11:40:02
YIKES!  Is this another Treachery Of Images or is it just the steam from our mouths making it difficult to see?  It is not yet midday and the opportunity to generate dialogue has raised its head three times.

Daniel Dugas

* The Treachery Of Images (La trahison des images 1928-29) is a painting by Belgian Surrealist painter René Magritte, famous for its inscription Ceci n’est pas une pipe.

NB – All of these events took place, not exactly at the times stated here.

 

Feb 2, 2008
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Même un détour serait correct (2008)

Une critique de Même un détour serait correct par Antonio D’Alfonso qui a paru dans la revue Liaison, n° 138, hiver 2007-2008, p. 54.

MemeUnDetour

PLUS QUE LA COUVERTURE (l’habit), ce sont les épigraphes qui aident à mieux comprendre un livre. Ces installations métaphoriques agissent, telles des signalisations routières. On le sait, un recueil de poésie n’a pas besoin de ce genre d’indicateur de sens. Heureusement, un vers est le moins linéaire des phrases, ce pont qui permet à notre imagination de vaguer à travers tous les sens. Disons simplement que, de temps en temps, le poète cherche, en citant un autre écrivain, à limiter les divagations chez le lecteur. Un clin d’œil.

Daniel Dugas de l’Acadie utilise trois épigraphes: un de Charles Bukowski, un autre de Léo Ferré et le dernier d’Herbert Read. Au fur et à mesure que nous avançons dans notre lecture, chacun révèle l’engagement politique de l’auteur, qui pointe clairement dans une certaine direction. Me voici, semble-t-il dire.

Le premier poème du livre s’ouvre sur « des monstres », et le dernier se termine avec « de la faible lueur au bout des tunnels ». Ce n’est pas un hasard si Dugas clôt le premier poème sur les monstres avec le vers « des fils d’Ariane » et cite à la fin son recueil de tunnels. Même un détour serait correct est un livre sur le sens que prennent les choses, plus que leur signification leur direction, ou plus exactement, la non-signification des choses qui reviennent au point de départ. On détale dans ce dédale de la « noirceur » avec l’espoir de se trouver là où « la plus petite lueur/est encore la chose la plus brillante de l’Univers ».

Ce n’est non plus un hasard si Dugas cherche à donner du sens à ce qui semble abstrait. Il se réfère au mathématicien suisse Leonhard Euler et s’amuse avec son idée des sept ponts de Königsberg pour écrire une forte et brillante section poétique, « Le problème du pont de Königsberg ». Comment traverser ce monde sans jamais utiliser le même pont deux fois de suite? C’est malheureusement impossible. Euler l’a démontré́ dans le dix- huitième siècle. Dugas semble croire que oui, tout est possible.

Si cela est vrai, contentons- nous des détours, allons dans le sens contraire du raccourci. Allons par le plus long chemin. Dugas propose une solution bien originale à ce problème mathématique de la répétition : «l’histoire des ponts/c’est l’histoire des désirs d’aller de l’autre coté́/d’aller vers l’autre». L’autre voie, c’est «le pont qui bouge pendant que l’eau reste immobile ».

J’aime quand un poème me faire rêver à l’Ailleurs et, chez Daniel Dugas, l’Ailleurs, c’est toujours la réalité́. Aucune immobilité́, aucune stagnation: les titres des poèmes sont des verbes à l’infinitif (sauf trois, les substantifs utilisés dans le premier vers de chaque section) présentes tous en ordre alphabétique (comme des ordres ?). Le recueil se divise en trois sections : « L’effondrement de l’architecture », « Le problème du pont de Königsberg» et «Porte-Bonheur», où les poèmes y sont disposés dans une mise en page singulière: dans la première section, ils sont alignés à la gauche de la marge ; dans la deuxième, ils sont centrés, et dans la dernière, Daniel Dugas les aligne à la marge de droite. Indice d’une trinité́ du bonheur? Possible. Parfaitement, maïeutiquement, «une oasis pour les assoiffés… les affamées… les blessés…».

 

Daniel Dugas, Même un détour serait correct, poésie, les Éditions Prise de parole, Sudbury, 2006, 86 pages.

 

pdf http://www.erudit.org/culture/liaison1076624/liaison1080654/40651ac.pdf

 

Jan 24, 2008
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Are you ready? (2008)

ARE YOU READY?

David McCallum  is a musician and a media artist from Toronto.  His day job is editor of Musicworks Magazine, his passion is to discover new terrains.  With a background in physics, music composition and new media, he is one of the new breed of explorers that bring science and art together.  McCallum has a diverse body of work that encompasses music, performance, locative media, video, net art and installation.  The motivation behind all of these works is an insatiable curiosity, a desire to experiment and to share his discoveries with diverse audiences.

LOCATIVE ARTS
In the last few years, we have seen numerous projects rooted in geometry, location and psychogeography.  Projects with names like Geograffiti, Sound Mapping, Urban Tapestries, and GPS Drawings.  All of these are locative art, meaning that they use location-based media such GPS or Wi-Fi as the medium.  WARBIKE, one of McCallum’s most important works to date, is such a project.  It is a bicycle with a clear plastic container attached at the front, loaded with electronics that sonify computer wireless networks.   As the bicycle rider cycles around town, the electronics pick up nearby Wi-Fi signals and turn them into squeaking sounds based on the strength of the signals and the encryption status of the network.  There are two types of wireless networks, those that are encrypted and those that are not.  If the initial motivation of McCallum was to draw attention to the level of safety of any network, the most important effect of his project is to make the participants aware of this invisible layer of communications that is floating in our public spaces.  Those invisible networks of information are now ubiquitous in our urbanscapes.  McCallum points out:

“Did you know that almost anywhere that you go in a city you’ll be sharing space with someone’s private wireless computer network?  All of their personal communication—e-mail, love messages, bank passwords, credit card numbers, and bizarre surfing habits—will be passing through your body without your awareness. Who are they, and how do you feel about sharing space with their personal life?”

The image of emails and love messages and even passwords and bank accounts passing through bodies has an undeniable poetic weight but it also raises important questions about privacy and free access to information.  One of the big questions is how can an Open Society be built around private networks?  This concern is also McCallum’s, as a volunteer for wireless Toronto, a not-for-profit group promoting no-fee wireless Internet access.

Popular geotagging software like Google Earth has help fuelled a passion for anything location. Locative arts projects are sprouting everywhere and McCallum continues to question and to negotiate their relevance and problematic.   Can we compare the WARBIKE rider, seeing and feeling what is around, to the fox in the Little Prince?  Is the rider seeing the invisible?  Is the essential located only in the hip downtown core, in the Hotspots of our cities?  Can this abundance of information that is surrounding and enveloping us all the time keep us warm at night?   In a recent email exchange McCallum stated:

“I’m no longer explicitly interested in pursuing purely psychogeographic things. I’d like to focus more on the experience of people within spaces, be they urban or not… There’s also been a bit of a fall out, at least in Toronto, with the psychogeographic community. Those who were only casually interested, like me, are starting to realize that to truly understand the workings of the city, one must look beyond the hip downtown core and into the rather unhip and desolate suburbs. I’m not sure that this is anything that any of the core psychogeographic boosters are terribly interested in, or are even equipped to handle. This isn’t even taking into account the drudgery of city planning where the reality involves budgets and garbage pail infrastructure and other incredibly tedious but necessary components to a city. And then there’s also the slightly cultish nature of public space boosterism, or the class division between those who have the luxury to spend time worrying about public space and those who do not.”

When in 1897, Guglielmo Marconi sent the first wireless communication message over water, he could never have imagined the complexities of our encrypted digital age.  The message, sent from Lavernock Point, South Wales to Flat Holm Island, a distance of 14 kilometres, was simply “Are you ready”.  110 years later, it looks like this message is still resonating through space.  Are we ready?

PD & Do-it-Yourself attitude
David McCallum is coming to Calgary to give a workshop on PD , which he uses for music. PD, aka Pure Data, is a real-time graphical programming environment for audio, video, and graphical processing.  Miller Puckette developed the program in the 1990s for the creation of interactive computer music and multimedia works.  One of the great advantages of Pd over Max Msp, a similar program, which also originated from Puckette, is that Pd is a freeware.

McCallum is an advocate of the open source movement and of the do-it-yourself attitude.  He does have strong convictions about the craft of new media art and the importance of doing the work by himself or with his collaborators.  David sometimes works with the i/o media group, a collective of media artists exploring real-time improvisation performance .  He also is capable of looking at technological apparatus and using it in novel ways.  His performance i swallow  is a good example. The MacBook’s design has the mic and webcam directly beside each other.  McCallum can play the feedback through the microphone while the webcam captures his actions.  This dual process allows the audience to see a connection between the sound and his actions—something, McCallum says is lacking in most electronic music performance.

David will be at EMMEDIA Friday, January 11, 2008 – 7:00 PM to present his project WARBIKE.  He will also be giving a Pure Data Introductory Workshop January 12-13, 2007, Noon – 5:00PM.
For more information call 263.2833

1. David McCallum websites includes:

http://www.mentalfloss.ca/sintheta/projects/?

http://sintheta.blogware.com/

2. On a technical level, the ‘sniffing’ is done by Kismet, a wireless network detector, the audio by Pure Data, and Python is acting as an interpreter between two.
3. David was the editor of the Locative Technologies issue (March 2007), digital arts quarterly magazine, vague terrain.  For more info:http://www.vagueterrain.net/content/archives/journal06/journal06.html
4. Pure Data: http://puredata.info/
5. http://www.mantissa.ca/iomedia/
6. i swallow was presented earlier this year at the Pleasure Dome’s New Toronto Works Show and at Interaccess both in Toronto.
YouTube: http://www.youtube.com/watch?v=wOknyZ7QHM0

Text published at EMMEDIA Gallery & Production Cociety

This fall Daniel Dugas has been touring his real time network performance Free Market Karaoke in Mexico City and on the East coast.  He was also invited to the Trois-Rivieres Poetry Festival where he read from his latest book ‘Même un detour serait correct’.  Daniel works and lives in Calgary.

 

Nov 30, 2007
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(FMK) Karaoke du marché libre (2007)

Free Market Karaoke (2005-2009) from Daniel H. Dugas on Vimeo.

• Subterfuge – Galerie Sans Nom, Moncton, NB, 30 novembre 2007

Paysage sonore crée lors d’une performance à la Galerie Sans Nom, Moncton, Nouveau Brunswick dans le cadre de l’exposition de groupe célébrant le 30 e anniversaire de la GSN. La pièce a été crée avec de l’information des marchés à termes (futures market)

Daniel H. Dugas

Artiste numérique, poète et musicien, Daniel H. Dugas a participé à des expositions individuelles et de groupe ainsi qu’à plusieurs festivals et événements de poésie en Amérique du Nord, en Europe, au Mexique et en Australie. Everglades, coécrit avec Valerie LeBlanc, vient de paraître aux Éditions Prise de parole.

Daniel H. Dugas is a poet, musician, and videographer. He has participated in solo and group exhibitions as well as festivals and literary events in North America, Europe, Mexico and Australia. His tenth book of poetry, co-written with Valerie LeBlanc, Everglades has just been published by Les Éditions Prise de parole.

Everglades
À partir de leur exploration du parc national des Everglades, Daniel H. Dugas et Valerie LeBlanc cartographient dans cet essai poétique les effets de la présence humaine sur le milieu naturel, les traces qu’elle y dépose. Everglades est une ode à la beauté, à la fragilité et à la résilience d’une nature aux prises avec une espèce envahissante, la nôtre.

Everglades
Through their exploration of the Everglades National Park, Daniel H. Dugas and Valerie LeBlanc document, in this poetic collection, the effects of human presence in the natural world and the traces left behind. Everglades is an ode to the beauty, the fragility and the resilience of nature faced with the invasiveness of a particular species, ours.

Date : Mars 2018
Genre : Poésie
Collection : Poésie
ISBN : 9782897441029
Français/English

Éditions Prise de parole

http://www.prisedeparole.ca/auteurs/?id=1148

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