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2018
- 20.500.13089/guef
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info:eu-repo/semantics/reference/issn/2276-3538
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https://hdl.handle.net/20.500.13089/gudo
Ce document est lié à :
https://doi.org/10.4000/hybrid.283
info:eu-repo/semantics/openAccess , https://creativecommons.org/licenses/by-sa/4.0/
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Arnaud Regnauld, « Grégory Chatonsky: the art of an archaeofiction without history? », Hybrid
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Résumé
In the wake of postmodernist experiments, Chatonsky questions both focalization and narrativity: he aims at elaborating a form of fiction without narration, that is to say without any diegesis or narrative instance, for it is anonymous, machinic and collective: “It is as if a fiction, a machine here, dreamt up our lives and used the very stuff of our existence in its sleep,” claims the artist in a textual manifesto. Now, to what extent do the discretization and the semi-random montage of flows captured on the Web, be they visual, textual or made of sounds, contribute to the emergence of a new fictional imagination aiming to do away with the causal principle, and hence with any narrative logic?
