Monoliths<\/em>, projet d\u00e9velopp\u00e9 entre 2015 et 2020. Il reprend le principe initial de permutation photographique tout en simplifiant son dispositif. L\u2019archive publique et les fonctions de partage de la premi\u00e8re version ont disparu afin de recentrer le projet sur l\u2019exp\u00e9rience de manipulation et sur la r\u00e8gle qui produit la forme.<\/p>\nLe principe est simple : le monolithe n\u2019est jamais ajout\u00e9 \u00e0 la photographie comme un objet ext\u00e9rieur. Il appara\u00eet \u00e0 partir de l\u2019image elle-m\u00eame. Une zone est d\u00e9coup\u00e9e, d\u00e9plac\u00e9e, retourn\u00e9e et recompos\u00e9e selon une g\u00e9om\u00e9trie r\u00e9glable. L\u2019utilisateur intervient sur la position, les proportions, l\u2019orientation et les conditions de visibilit\u00e9 de la forme. La photographie devient ainsi une mati\u00e8re transformable, soumise \u00e0 une s\u00e9rie d\u2019op\u00e9rations qui en d\u00e9placent localement la continuit\u00e9.<\/p>\n
L\u2019interface assume pleinement cette dimension d\u2019outil. Les curseurs, les r\u00e9glages et les variations de rendu ne sont pas p\u00e9riph\u00e9riques au projet : ils constituent le lieu m\u00eame de l\u2019exp\u00e9rience. Chaque manipulation modifie la relation entre l\u2019image initiale et la forme qui en \u00e9merge. Il ne s\u2019agit donc pas seulement de produire une image finale, mais d\u2019explorer la mani\u00e8re dont une photographie peut \u00eatre fragment\u00e9e, d\u00e9plac\u00e9e et reconfigur\u00e9e par le code.<\/p>\n
Le monolithe traverse plusieurs projets comme une forme minimale, stable mais ouverte \u00e0 diff\u00e9rentes interpr\u00e9tations. Sa pr\u00e9sence renvoie in\u00e9vitablement \u00e0 2001: A Space Odyssey<\/em>, mais cette r\u00e9f\u00e9rence ne se limite pas au monolithe noir du film de Stanley Kubrick. Dans le roman d\u2019Arthur C. Clarke, le premier monolithe rencontr\u00e9 \u00e0 l\u2019aube de l\u2019humanit\u00e9 est d\u00e9crit comme une structure cristalline et translucide, travers\u00e9e par la lumi\u00e8re, tandis que d\u2019autres monolithes apparaissent ensuite comme des formes noires. Cette variation permet de consid\u00e9rer le monolithe moins comme un objet fig\u00e9 que comme une forme dont le statut et l\u2019apparence d\u00e9pendent des conditions dans lesquelles elle surgit.<\/p>\nDans Monolith Process<\/em>, cette forme devient avant tout un op\u00e9rateur. Elle ne vient pas interrompre l\u2019image depuis l\u2019ext\u00e9rieur, elle r\u00e9v\u00e8le une transformation qui se produit \u00e0 l\u2019int\u00e9rieur de celle-ci. Le monolithe est \u00e0 la fois r\u00e9sultat et indice du processus qui l\u2019a fait appara\u00eetre.<\/p>\nLa r\u00e9activation de 2026 d\u00e9place ainsi le centre du projet. L\u00e0 o\u00f9 Monoliths<\/em> articulait production d\u2019images, participation et circulation sociale, Monolith Process<\/em> se concentre davantage sur l\u2019outil, la manipulation et le protocole lui-m\u00eame.<\/p>\nLe projet d\u00e9place ainsi l\u2019attention de l\u2019objet repr\u00e9sent\u00e9 vers les conditions de son apparition. Ce qui compte n\u2019est pas seulement le monolithe visible, mais le processus qui le fait \u00e9merger de l\u2019image.<\/p>\n
\nMonolith Process<\/em> is a 2026 reactivation of Monoliths<\/em>, a project developed between 2015 and 2020. It revisits the original principle of photographic permutation while simplifying the system. The public archive and sharing functions of the first version have been removed in order to refocus the project on the experience of manipulation and on the rule that produces the form.<\/p>\nThe principle is simple: the monolith is never added to the photograph as an external object. It appears from within the image itself. A section of the image is cut, displaced, flipped, and recomposed according to an adjustable geometry. The user can modify the position, proportions, orientation, and conditions of visibility of the form. The photograph thus becomes a transformable material, subjected to a series of operations that locally disrupt its continuity.<\/p>\n
The interface fully embraces this dimension as a tool. Sliders, controls, and variations in rendering are not peripheral to the project: they constitute the very site of the experience. Each manipulation modifies the relationship between the initial image and the form that emerges from it. The aim is therefore not simply to produce a final image, but to explore how a photograph can be fragmented, displaced, and reconfigured through code.<\/p>\n
The monolith has appeared across several projects as a minimal form, stable yet open to different interpretations. Its presence inevitably refers to 2001: A Space Odyssey<\/em>, but this reference is not limited to the black monolith in Stanley Kubrick\u2019s film. In Arthur C. Clarke\u2019s novel, the first monolith encountered at the dawn of humanity is described as a crystalline, translucent structure traversed by light, while other monoliths later appear as black forms. This variation makes it possible to consider the monolith less as a fixed object than as a form whose status and appearance depend on the conditions in which it emerges.<\/p>\nIn Monolith Process<\/em>, this form functions above all as an operator. It does not interrupt the image from the outside; it reveals a transformation taking place within it. The monolith is both the result and the trace of the process that brings it into view.<\/p>\nThe 2026 reactivation thus shifts the center of the project. Where Monoliths<\/em> combined image production, participation, and social circulation, Monolith Process<\/em> focuses more closely on the tool, the act of manipulation, and the protocol itself.<\/p>\nThe project thus shifts attention away from the represented object and toward the conditions of its appearance. What matters is not only the visible monolith, but the process through which it emerges from the image.<\/p>\n","protected":false},"excerpt":{"rendered":"
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