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Nous pourrions aussi imaginer le processus inverse : en partant du monochrome bleu, à mesure que les habitants atteignent leurs objectifs, les petits tableaux se retournent et l’oeuvre se révèle.

Le traitement des données sera choisi en concertation et pourra se baser sur une seule donnée phare comme la consommation globale à différents moments ou sur un jeu de données pertinent et plus large dont la répartition se ferait en zones sur le tableau. Nous pouvons aller jusqu’à une finesse unitaire, où chaque petit tableau serait connecté à une donnée différente, car ils seront tous pilotables indépendamment.

Ci-après, nous proposons un autre exemple, à partir d’un traitement artistique des images. Nous rappelons que ce n’est ici qu’un exemple, mais il nous a semblé intéressant de le proposer pour illustrer le propos. Dans ce cas, l’image d’origine, une vue satellite d’un glacier, a été traitée numériquement pour obtenir une image abstraite mais évocatrice de la glace. Au verso, un autre traitement transforme la même image avec des tons inverses. Symboliquement, la partie glacée y est devenue minérale et terreuse et, autour d’elle, le bleu évoque l’eau de fonte. Ainsi, à chaque dépassement, le glacier disparait un peu, mais chaque comportement vertueux l’empêche de fondre.

Kinetic work for the facade of the Starlette building. In partnership with the Bertrand Gillig gallery, Alcys and Nexity.

Extract from the note of intent:

The mainline is to encourage virtuous behaviors and to connect them with their deep meaning, the safeguard of the environment. This is about evoking a natural element threatened by global warming. We will use the glacier here for the example because it is a powerful symbol, but we might as well use the forest or the bee.

As plastic research has not yet been carried out, the images below are offered to help understand the principle but do not represent what the final images will be.

The image produced will be printed on a monumental painting hanging on the building. This table will itself be composed of multiple smaller and automated tables to display to the public view either their front or back. This state will be determined by the data (s) that we wish to highlight. A lighting system will be integrated into the supporting structure so that the work is also highlighted at night.

It seems appropriate for this proposal to rely mainly on objective data. The work then becomes a real engine to encourage the inhabitants to reach these objectives.

For example, if the work was an aerial photo of a glacier by the sea, we could put a simple blue monochrome on the back. Each time consumption is exceeded, a small table turns around and disturbs the reading of the image.

We could also imagine the reverse process: starting from the blue monochrome, as the inhabitants reach their goals, the small paintings are turned over and the work is revealed.

The data processing will be chosen in concert and may be based on a single flagship data such as global consumption at different times or on a relevant and wider dataset whose distribution would be in zones on the table. We can go to a unitary fineness, where each small table would be connected to different data because they will all be independently controllable.

Below, we offer another example, based on the artistic processing of the images. We recall that this is only an example, but we thought it would be interesting to offer it to illustrate the point. In this case, the original image, a satellite view of a glacier, was digitally processed to obtain an abstract but evocative image of the ice. On the back, another treatment transforms the same image with reverse tones. Symbolically, the icy part has become mineral and earthy and, around it, the blue evokes meltwater. Thus, with each passing, the glacier disappears a little, but each virtuous behavior prevents it from melting.