reVoltaire
reVoltaire /a random collection of ready media works
* april > may 2023
les livres de reVoltaire
Width: 14.8 cm
Height: 21 cm
Number of Pages: 308
Copies: 1
© calin man
2013-2023
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Bloc 108B
blank page/ HTML/ source code
bloc108b font (http://fontstruct.com/fontstructions/show/bloc108b)
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randomdrama
Basic English 850 Word List / JavaScript
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X0X
tic-tac-toe with roxana and alexandru
4 Fifty Mississippi
InDesign > Window > Pages > A-Master / Type > Insert Special Character > Markers > Current Page Number
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PARIS+ARAD=PARADIS
Guide de Voyage
PARIS http://maps.yahoo.com/place/?lat=48.85693&lon=2.3412&q=paris&bb=48. 86264676934527%2C2.330381643676758%2C48.85121323065473%2C2.35201835 6323242&addr=Paris%2C%20France + ARAD http://maps.yahoo.com/place/?lat=4 6.17865295932824&lon=21.346853971481323&q=Arad%20(Arad)%2C%20Roman ia&bb=46.180155408590196%2C21.34414494037628%2C46.177150510066284%2C21.349563002586365&addr=Arad%2C%20Romania = PARADIS
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Ph.Otto
“Les amis des mes amis sont mes amis” Mark Țuckerberg
305 fotos of my facebook friends / ASCII Art Version 1.07
The Quick Brown Fox Jumps Over The Lazy Dog
This book contains the following text: “The quick brown fox jumps over the lazy dog” is an English language pangram; a phrase that includes all of the letters of the English alphabet. It has been used to test typewriters and computer keyboards, and in other applications involving all of the letters.
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txt to be written all txt files of reVoltaire archive
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GVSK (Gadget Versus Krestanatz)
/inventory/
The Book of Fifty Mississippi by reVoltaire as pilot for the first season of kinema ikon: serial at the art museum arad gadget: 1886, gadjet (but said to date back to 1850s), sailors’ slang word for any small mechanical thing or part of a ship for which they lacked, or forgot, a name; perhaps from Fr. gâchette “catchpiece of a mechanism,” dim. of gâche “staple of a lock.” krestanatz: if x = 1, a numeric object is shown, as an effect of organizing, tuning or intentionally covering a sonorous or graphic space. this object, with no precise meaning, is named krestanatz.
10 100USD
foto & ASCII:
Înecarea Operei - Happening mise-en-Seine /debutul Arhivei reVoltaire/ (Malul râului Mureș, râul Mureș) iunie 1986
txt: attachment image error. random edit march 2017
421 pages:
January 20, 2017 exchange rate : 1 USD = 4,21 LEI (100 x 4,21 = 421)
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LETTRES EN TÊTE AVANT LA LETTRE bloc108b font applied to a blank page of HTML source code overlayed on reVoltaire’s CT scan images converted in ASCII
ASCII text: abcdefghijklmnopqrstuvwxyz0123456789!#$%^*()-_=+*.,./;’[]<>?:{}|\ REVOLTAIRE
bloc108b text: <!DOCTYPE html PUBLIC “-//W3C//DTD XHTML 1.0 Transitional//EN”
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(http://fontstruct.com/fontstructions/show/bloc108b)
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Fifty Fifty Mississippi by reVoltaire
bloc108b font applied to a blank page of HTML source code overlayed on reVoltaire’s CT scan images converted in ASCII plus background images from kinema ikon: serial / season 4 / episode 10
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The Malcom Tese remix / film noir / book / sound box / venetian blind
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kalimæra part of kimæra media installation based on reVoltaire’s CT scan images converted in ASCII overlayed on bloc108b font applied to a blank page of HTML source code
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green screen & ASCII apps
programming: Ilie Ciotir
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5 ready media files by Vasile Carlova
experimental film, hdv, color by reVoltaire a project initiated by Ion Dumitrescu and Stefan Tiron. based on unused soundtrack by Rodion GA and rare footage by reVoltaire and Zsiga Ioan. dedicated to the fabulous poet Vasile Carlova.
the ready media files:
1_ Trip departure. {Marșul oștirei române / Romanian Military March} (01:58)
2_ La Debel A Gora. {Înserarea / Eventide} (03:32)
3_ Carnival in Sanicolaul Mic. {Ruinurile Târgoviștii / Ruins of Târgoviște} (01:25)
4_ Heroes: Jakob & Johann Schmeltzer and A Short Visit At The Shoe Factory
“Libertatea”. {Rugăciune / Prayer} (02:40)
5_kapet. {Păstorul întristat / The sad shepherd} (01:03)
* Vasile Carlova 1809 - 1831 - romanian poet. he wrote only 5 poems.
* Rodion GA - experimental new wave band with no albums released (early 80’s).
* Zsiga Ioan - amateur filmmaker from Sanicolaul Mic (late 60’s).
* Mikalaka Aesotheric and Second Administration - part of Esoth Eric project (since 2000)
* the term ready media was coined by reVoltaire / kinema ikon (1995)
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Proiectul AltArad este utopia în care arhiva reVoltaire1 își va fi găsit locul. Anghemacht Frei2, în primă instanță și acum Esoth Eric3 și-au părăsit propriile ficțiuni pentru a participa ca martori la un eveniment mai puțin studiat din istoria orașului Arad. Iată șirul de evenimente care a dus la povestea aici de față: În 1763 a început construcția noii cetăți în stil Vauban. Din motive strategice, autoritățile vremii au hotărât mutarea Aradului la Zimand – de la A la Z, pentru că locul ales se află la o distanță sigură de 1.000 de klafteri, limita razei de acțiune a tunurilor din cetate. S-au făcut planurile noului oraș, s-a oprit construcția de noi edificii în AltArad, dar moartea împărătesei Maria Tereza a fost pentru elitele arădene un bun prilej de renegociere a proiectului urbanistic. Drept urmare, noul împărat, Iosif al II-lea, s-a înduplecat și a hotărât că Aradul rămâne pe locul lui și de atunci și până în ziua de azi, ca o ironie a sorții, toate construcțiile importante ale orașului au fost amplasate greșit.
1 arhiva reVoltaire conține un număr de personaje cu biografie lipsită de evenimente, leneșe pe deasupra care își motivează existența doar prin nume; rar câte un personaj intreprinde ceva dar importanța acțiunii lui poate fi ignorată fără nicio teamă.
2 Anghemacht Frei este personajul principal al ghidului hypermedia de patafizică imagologică inspirat din cărțile de pribegie din sec. XIX, Das Wanderbuch / e-story.
3 Esoth Eric este un proiect dezvoltat pe o ecuație dată având ca rezultat 0, -1 sau 1. (povestea lui Esoth Eric este transpusă în cod morse și poate fi ascultată la cerere.)
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reVoltaire
the book you are just reading.
Ileana Selejan
kinema ikon redux
Redux = de la reducere (Lat.) a re-aduce, a aduce înapoi. Călăuza a pornit înapoi în timp, și se îndreaptă vertiginos către tine la bordul bolidului revoltarian care se credea pierdut... regăsit printre relicvele trecutului.
Statementul artistului: “the Time Machine that I’m showing at the Arad Art Museum is thus an absurd construction: the headlights project the films from the 80s, and in the pilot’s helmet, on a loop, is the recording of my heart (photogenically altered). There’s also 2 clocks attached - one 5 minutes ahead of time, hence pointing towards the future, and another ticking backwards ... I’m not entirely sure what that is supposed to mean.”
Mașina Timpului a fost văzută ultima dată la Muzeul de Artă din Arad în August 2015. La deschiderea muzeului, într-o zi care se anunța toridă și exasperant de „normală”, unuia dintre custozi i s-a părut că „parcă ceva nu era tocmai bistoș” (conform declarației ulterioare). Angajații și angajatele prezenți în ziua respectivă s-au adunat în sala de expoziții, unde au fost martorii unui eveniment ieșit din comun. Într-adevăr din expoziție lipsea obiectul principal, și anume prototipul Mașinii Timpului! „Să fie vorba de un jaf?” „Dar cum să se fi întâmplat așa ceva?!” „Vai de mine!” „Imposibil.” „Paznicul de noapte e om de încredere, nimeni nu ar fi avut cum să treacă neobservat pe lângă el.” În urma anchetei realizate de muzeu (cu sprijinul Interpolului și FBI-ului fapt ce trebuie menționat deoarece între timp s-a aflat că NASA râvnea prototipul, încercând chiar să fure planurile prin intermediul unui bine-cunoscut hacker local) nu s-a aflat absolut nimic. Se pare că Mașina Timpului pur și simplu a dispărut. S-a evaporat. Reacțiile unora dintre critici în seara inaugurării fuseseră într-adevăr nefaste. Majoritatea vizitatorilor au fost sceptici, alții s-au abținut de la comentarii. Totuși, de la un comentariu anost la un asemenea gest e cale lungă. Nu a fost identificat niciun suspect. Revin la prezent.
E anul 2020, suntem în plină pandemie. Cine ar fi crezut ca vom ajunge aici? Pierduți în imensitatea unui eveniment de asemenea proporții. Se pare că Nikola Tesla era germofob, motiv pentru care (e posibil) să fi supraviețuit gripei spaniole. Ultimii supraviețuitori ai acelei pandemii – ultimii martori ai ei – aflați la înaintata vârsta de 105 respectiv 108 ani, au fost din păcate răpuși de actuala pandemie. Un virus... “what’s in a name”
“I am The Golden Virus says The Golden Virus don’t worry
je suis un virus câlin
I will grant you three wishes only if you really want to get rid of me”
It all begins with an introverted “I” and an extroverted E-Y-E, passionately dispassionate, endowed with visionary abilities and sharpened senses. “The characters of the reVoltaire archive witness various events having taken place in Arad along time.” Some of these events may be historically accurate, hence verifiable, while others are fictional, if not entirely invented. Occasioned by a cosmic event of illuminating proportions – the August 11, 1999 solar eclipse, which created impressive meteorological effects and cast unusual shadows over the town of Arad, Transylvania – this “web site story” interjects poetic potential of equal magnitude onto the viewer’s screen. Browsing amongst twitching bands of glorious pixels of loud yellow and purple blue, Aradin Eclipsovici catches the golden virus. “Don’t worry,” the virus whispers.
What is … who is reVoltaire? Re+Voltaire, (Caba)RE(t) Voltaire, Revolt+air+e? A cyber-aristocrat? A multiple persona? An impostor? Trickster? Storyteller, mythmaker, Wunderkammer collector, chronicler, re-enactor, web-explorer, inventor, Gordian knot maker, untangler, perpetually hidden, out of sight … reVoltaire.net is all and none of the above. This elusive, web-based archive, was assembled and designed by Romanian net.artist Calin Man (born 1961). A work in permanent progress, it advances equally in retrospect – an exercise in duration proceeding uninterrupted in digital space, with more precise boundaries yet to be set: “reVoltaire’s archive features a number of characters with no spectacular biography and lazy above, who motivate their existence only through their name. rarely one of these characters undertakes anything and then the importance of the action can be ignored without any fear.”
Even the skeptics will have to agree to remain confused. Et tu? Pataphysics might offer the closest, most sympathetic, precedent for the type of theoretical precepts and systems of classification employed here – an immaterial ‘physics’ of the matter-of-fact, a perpetually shifting subject, focus, method, and experimental outcome. Man’s fine-tuned apparatus only obeys impracticable rules. Framed by a series of aleatory conditions, all instructions for use are clearly stated: if … then. There should be no argument there. Otherwise, the golden virus, fidgety like the golden fish, will slip right through our fingers in a preposterous vanishing act. (Imagine an anxious pencil mark, past midnight, breaking onto the surface of a composed Sol LeWitt line drawing.) And all will have been but a capricious mirage.
The archive has been “developed on the same given equation that has 1, 0 or -1 as a result.” Occasionally, this nebulous whole morphs into more stable and coherent parts, spitting out files, machine-like. Fictional characters abound. Having destroyed the entirety of his literary oeuvre, the author now uses code as his disguise.
While affected by chance, or destiny, no “revoltarian” piece is entirely absurd. Instead, all contain substantial histories, tools for grasping the multivalent narrative possibilities of the digitally networked world. Man’s projects cross multiple genres, skipping from online to offline; hybrid characters press through the boundaries of the screen; moving images are broken down through code, sound through text; instead of chaos, alternative logic ensues. The techniques employed relate to interventions from the early nineties, when, dismissive of the unidirectional communications networks of the recently fallen Communist propaganda machine together with the experimental arts and media group kinema ikon, Man manipulated news content transmitted by the national TV broadcast (the Romanian revolution toppled the Ceausescu dictatorship in December 1989).
Since 1996 reVoltaire has been voyaging through the web, passing through from dial-up speed to fiber-optic, creature of the night, chewing at its fringes.
Turn the page and once again, it all begins, in perpetuity.
Ghid Practic
• Căutarea antidotului
• Propunere pentru un alt mijloc de transport inter-dimensional in comun
