2019. Conditions of a “Localized Writing” Experiment 3: Murmures Urbains à Chalon-sur-Saône (F) / 20140226.With these protocols, the reflexive and calculating dimension is enhanced, but in a particular way. His dual activity as an artist and philosopher engaged in the field of arts and literature in theoretical texts, works produced with the help of the digital networks and in the design of collaborative events that have involved many French and international partners (Cinémathèque Française, Centre Pompidou, Labex Arts-H2H (Paris 8), Beaux-Arts de Paris, ENSP Arles, ENSAD, UQAM, ZkM, École de La Cambre…). Gloria Sutton, Zachary Kaplan, "A Performance of Code: Rhizome and the Rise of Internet Art", VoCA Journal, 30 June 2017. Organisation du programme par Catherine Beaugrand (DatAData, ENSBA Lyon) et Emmanuel Guez (PAMAL, ESA Avignon) Les 20 et 21 octobre 2014 à l'Ecole Normale Supérieure de Lyon. 84000 Avignon curators : Antonin Fourneau, Emmanuel Guez, Pierre-Erick Lefebvre, Guillaume Stagnaro, in collaboration withe Marie Lechner with: Caligari _ Endlessly _ La rhétorique peut casser des briques _ Méditation sur la méthode _ Gold Revolution _ The Free Universal Construction Kit _ QrKanoid _ KindleGlitched _ ReFunct Modular Ippolito’s ‘proliferative preservation’ is discussed in Richard Rinehart and Jon Ippolito, 38 Christiane Paul, ‘The Myth of Immateriality—Presenting & Preserving New Media’, in Grau, 39 Christiane Paul, ‘Context and Archive: Presenting and Preserving Net Art’, in 43 Mark Hellar, ‘Engaging Computer-Based Artworks: What is Found There?’ (paper presented at the colloquium 45 An API is a set of protocols effected between various software components.46 For more detail on this approach at ZKM see Serexhe, 47 Cf. A second original is a duplication, for archival purposes, of a lost or non-functional digital art piece, produced as the closest proximation possible of the initial material production conditions, including hardware, software and user experience. Mouchette), whose Dekker recounted how the Stedelijk Museum in Amsterdam and the Museum of the Image (MOTI) Breda, Netherlands jointly acquired The re-interpretation strategy, based on an analogy between performance and digital art, gains support from the conservation-restoration of ethnographic artefacts. Here, the game does not run in a system with fixed rules (a series of axioms), but in its secondary effects, between objective reality and immersive reality. This is a dramatic reversal in the process of playwriting. Sonde 04#12 - Si loin, si proche - Le jeu vidéo, la scène, la rue.

He is invited Professor at the Beaux-Arts de Paris.

In 2012 The first advantage was that sound cards can easily be programmed and be substituted for a V.23 modem.

Since 2013, he has been co-director of the PAMAL laboratory, the first French laboratory for media archaeology and preservation of digital arts.

Swaving re-uses the distinctions between artworks as either being scores, recordings or a matrices to consider if what remains of those works is a series of fragments that retain the sufficient ‘knowledge and ideas [of the work] that can be activated and reinterpreted in new social and cultural contexts’, thereby allowing them to stay ‘alive’ in some sense.Where net artists such as Cheang or Neddam now appear committed to preserving their works, Johannes Birringer has argued that any re-interpretation, in whatever form including ‘proliferative re-creations’, ‘re-enactment’ or ‘delegated performances’, almost always results in failure.

Emmanuel Guez, Morgane Stricot, Lionel Broye, Stéphane Bizet, "The Afterlives of Network-Based Artworks", Journal of the Institute of Conservation 40:2, 2017, pp 105-120.

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