{"id":1628,"date":"2013-02-21T14:34:30","date_gmt":"2013-02-21T13:34:30","guid":{"rendered":"http:\/\/robinmeier.net\/?p=1628"},"modified":"2026-03-21T22:50:15","modified_gmt":"2026-03-21T21:50:15","slug":"human-use-of-human-beings","status":"publish","type":"post","link":"https:\/\/robinmeier.net\/?p=1628","title":{"rendered":"Human Use of Human Beings (2013)"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/74187957?title=0&amp;byline=0&amp;portrait=0\" width=\"712\" height=\"401\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h5 class=\"p1\"><\/h5>\n<h5 class=\"p1\">Curated by Charles Carcopino<br \/>\nCo-Produced by Lille3000, Seconde Nature, La Gare Num\u00e9rique (Jeumont), Le Man\u00e8ge (Mons), DICR\u00e9AM (CNC) and Arcadi<br \/>\nshown at Festival VIA Maubeuge, Festival Exit Paris, Gare St. Sauveur Lille, Seconde Nature Aix-en-Provence<\/h5>\n<h5>robotic installation<\/h5>\n<p class=\"p1\">In his 1950 text titled The Human Use of Human Beings, Norbert Wiener\u2014one of the founders of Cybernetics\u2014argued\u00a0for a Utopia in which an evolved relationship between humans and machines expanded the consciousness of both\u00a0parties. An avid advocate of automation, Wiener foresaw a world in which expanded collaboration among humans and\u00a0machines relieved humans of treacherous and repetitive tasks, thereby creating more opportunities for creative and\u00a0intellectually stimulating activities. Wiener was also deeply concerned with information theory and its relevance to the\u00a0human-machine relationship. He proposed that while the physical world leans towards greater randomness (the laws\u00a0of thermodynamics and ever-increasing entropy), communication essentially negates randomness\u2014negentropy.\u00a0Wiener \u2018s ideas not only laid the foundation for the field of artificial intelligence, it defined a trajectory of intellectual\u00a0practice that was inherently interdisciplinary, concurrently humanistic and technocentric, and politically charged from\u00a0the onset.<\/p>\n<p class=\"p1\">In response to the roots of cybernetics and artificial intelligence and their implications today, Meier and Momeni create\u00a0a musical and gestural language for a colony of sound-making robots. Their autonomous robots are aware of their\u00a0surroundings through a variety of sensors, communicate with one another wirelessly, and diffuse sound. Each robot\u00a0has a range of gestural and musical behaviors whose subtleties rely on environmental parameters and the state of its\u00a0comrade robots. Their collective movements and emergent behaviors allow the artists to explore the blurry lines of\u00a0work and leisure, repetition and improvisation, fate and free will, as well as communication and solitude.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1671\" src=\"http:\/\/robinmeier.net\/wp-content\/uploads\/2013\/02\/work_158_image_fr.jpg\" alt=\"work_158_image_fr\" width=\"705\" height=\"380\" srcset=\"https:\/\/robinmeier.net\/wp-content\/uploads\/2013\/02\/work_158_image_fr.jpg 705w, https:\/\/robinmeier.net\/wp-content\/uploads\/2013\/02\/work_158_image_fr-450x243.jpg 450w, https:\/\/robinmeier.net\/wp-content\/uploads\/2013\/02\/work_158_image_fr-250x135.jpg 250w, https:\/\/robinmeier.net\/wp-content\/uploads\/2013\/02\/work_158_image_fr-300x161.jpg 300w, https:\/\/robinmeier.net\/wp-content\/uploads\/2013\/02\/work_158_image_fr-210x113.jpg 210w\" sizes=\"auto, (max-width: 705px) 100vw, 705px\" \/><\/p>\n<p class=\"p1\"><em>propos recueillis par\u00a0Laurent Diouf,\u00a0pour <a href=\"http:\/\/www.digitalarti.com\/fr\/blog\/digitalarti_mag\/robin_meier_ali_momeni_humain_trop_humain\">Digitalarti<\/a> et EXIT:<\/em>\u00a0&#8220;Human Use of Human Beings&#8221; pi\u00e8ce met en sc\u00e8ne un essaim de\u00a0petits robots, surmont\u00e9s d&#8217;une antenne pourvue d&#8217;une diode, qui gravitent sur une plateforme. Le\u00a0parcours sinueux de ces entit\u00e9s, qui laisse deviner un arri\u00e8re-monde cabalistique, est modul\u00e9 selon la\u00a0pr\u00e9sence des spectateurs. Ce &#8220;ballet m\u00e9canique&#8221; s&#8217;effectue au son de cliquetis m\u00e9talliques, tintements\u00a0m\u00e9lodiques, incantations et murmures cryptiques. Un temps titr\u00e9e Sept Degr\u00e9s De Libert\u00e9, cette\u00a0installation doit son nom \u00e0 l&#8217;ouvrage de r\u00e9f\u00e9rence du p\u00e8re de la cybern\u00e9tique, Nobert Wiener, et s&#8217;inscrit\u00a0dans le prolongement de pr\u00e9c\u00e9dents travaux qui prenaient le monde des insectes comme support.\u00a0Explications de Robin Meier et Ali Momeni.<\/p>\n<p class=\"p1\">Nous voulons comprendre les m\u00e9canismes de la nature. Quand nous chor\u00e9graphions une colonie de\u00a0fourmis, c&#8217;\u00e9tait pour r\u00e9v\u00e9ler les m\u00e9canismes (et l&#8217;intelligence) cach\u00e9s d&#8217;une fourmili\u00e8re. Dans ce sens, ce\u00a0n&#8217;est pas si diff\u00e9rent de travailler avec des robots. Plut\u00f4t que de travailler avec des feuilles de tro\u00e8ne et\u00a0des champignons, nous travaillons avec des micro-courants, des batteries, des circuits imprim\u00e9s pour\u00a0r\u00e9v\u00e9ler la m\u00eame chose : l&#8217;intelligence et l&#8217;expressivit\u00e9 du monde qui nous entoure. (\u2026) Aujourd&#8217;hui, une\u00a0vision du monde purement physique et m\u00e9canistique remplace une vision plus magique. Cette abolition\u00a0de la magie, de l&#8217;\u00e2me des choses, est comparable \u00e0 la r\u00e9volution copernicienne. Dans\u00a0Human Use of\u00a0Human Beings,\u00a0nous essayons de r\u00e9concilier la machine avec la magie et la pr\u00e9histoire humaine en\u00a0empruntant sons, formes et pratiques au rituel probablement le plus ancien encore pratiqu\u00e9\u00a0aujourd&#8217;hui, l&#8217;Agnicayana\u00a0(page <a href=\"http:\/\/en.wikipedia.org\/wiki\/Agnicayana\">wikipedia<\/a>\u00a0en anglais).\u00a0Lors de cette c\u00e9r\u00e9monie v\u00e9dique, vieille d&#8217;au moins\u00a03000 ans, des pr\u00eatres construisent un autel de feu en forme d&#8217;oiseau constitu\u00e9e de triangles identiques.\u00a0Empruntant ces triangles pour la construction de notre plateforme, nous laissons nos robots y r\u00e9-interpr\u00e9ter ce rituel \u00e0 la recherche d&#8217;une humanit\u00e9 perdue.On le sait, il n&#8217;est pas de rituel, pas de c\u00e9r\u00e9monie, sans musiques et chants d\u00e9di\u00e9s, consacr\u00e9s\u2026 Il en\u00a0est bien \u00e9videmment de m\u00eame pour l&#8217;installation de Robin Meier et Ali Momeni : pour Human Use of\u00a0Human Beings,\u00a0nous avons con\u00e7u un orchestre de haut-parleurs \/ samplers robotis\u00e9s. Cela nous permet\u00a0de jouer des textures hautement polyphoniques et complexes. Chaque robot peut jouer un son diff\u00e9rent\u00a0et participe ainsi \u00e0 un ch\u0153ur spatialis\u00e9 d&#8217;une centaine de voix. Ensemble, les robots font r\u00e9sonner des\u00a0incantations v\u00e9diques et des champs harmoniques aux timbres constamment changeants \u2014 une sorte\u00a0de\u00a0klangfarbenmelodie\u00a0m\u00e9canique. R\u00e9guli\u00e8rement, ces ch\u0153urs sont interrompus par une voix\u00a0synth\u00e9tique qui donne de nouveaux ordres aux robots, des instructions crypt\u00e9es en voix pseudo-humaine.Cette attention port\u00e9e \u00e0 l&#8217;environnement sonore, capital dans toutes les cr\u00e9ations de Robin Meier et Ali\u00a0Momeni, s&#8217;explique autant par leurs profils que par leurs intentions.\u00a0Nous sommes tous les deux\u00a0musiciens de formation. Nous ne sommes pas des scientifiques, m\u00eame si notre pratique nous am\u00e8ne \u00e0\u00a0utiliser les outils de la science et de l&#8217;ing\u00e9nierie. Nous sommes fascin\u00e9s par l&#8217;omnipr\u00e9sence de la science\u00a0et de son r\u00f4le &#8220;d&#8217;ultime instance&#8221; dans nos soci\u00e9t\u00e9s \u2014 domaine jadis r\u00e9serv\u00e9 \u00e0 la religion.\u00a0(\u2026) L&#8217;utilisation des technologies nous a donc amen\u00e9 a explorer des dispositifs qui ont un rapport au\u00a0temps diff\u00e9rent de la musique, mais dont le son reste toujours central, notamment comme moyen de\u00a0communication \u2014 que ce soit avec des moustiques (vid\u00e9o de l&#8217;oeuvre), abeilles ou avec des robots.\u00a0Pour nous, le son est ins\u00e9parable du contexte dans lequel il est produit (comme l&#8217;intelligence, tout se\u00a0cr\u00e9e en interaction avec son environnement). Nous essayons donc de cr\u00e9er \u00e0 la fois la composition et la\u00a0situation d&#8217;\u00e9coute adapt\u00e9e \u00e0 cette composition. Ce sont des \u0153uvres sonores non pas \u00e0 \u00e9couter chez soi,\u00a0mais \u00e0 exp\u00e9rimenter dans l&#8217;espace.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Curated by Charles Carcopino Co-Produced by Lille3000, Seconde Nature, La Gare Num\u00e9rique (Jeumont), Le Man\u00e8ge (Mons), DICR\u00e9AM (CNC) and Arcadi shown at Festival VIA Maubeuge, Festival Exit Paris, Gare St. Sauveur Lille, Seconde Nature Aix-en-Provence robotic installation In his 1950 text titled The Human Use of Human Beings, Norbert Wiener\u2014one of the founders of Cybernetics\u2014argued\u00a0for [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1630,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,7],"tags":[],"class_list":["post-1628","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press-media","category-works"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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