Meeting with Bidhan Jacobs
The signal is the very essence of sound and the digital image: of the material information invisible to the naked eye, codified and circulating through the filmic technologies of the age of the Net. Its access, of capital importance, is in protected mode (Friedrich Kittler). On the one hand, digital tools are constructed like black boxes, at the heart of which signal processing is carefully rendered opaque and inaccessible. On the other hand, private companies and government intelligence services have unlimited technological capability to intercept and investigate signals to carry out their surveillance and profiling operations on a global scale. In this paradox, some artists such as Pierre-Yves Cruaud, HC Gilje, Paolo Gioli, Gaëlle Cintré, Jacques Perconte, Leighton Pierce, Joost Rekveld, Sadia Sadia and Jérôme Schlomoff develop the intelligence of the signal: they pass from its regulated treatment according to audiovisual norms to its experimentation to free the unexploited visual resources and to express all the layers of sensitivity of the artist.
Bidhan Jacobs is Doctor of Cinematographic Studies, post-doctoral researcher at Labex Arts-H2H, Paris 8 - ENSLL and teacher at Paris-Est Marne-la-Vallée and Paris 3 Sorbonne-Nouvelle, author of a thesis to appear in the Presses Universitaires du Septentrion under the title Aesthetic of the signal, and co-director with Nicole Brenez of Critical Cinema. From analog to digital, ways and forms of visual objection (Presses de la Sorbonne, 2010)