THE PIRATE CINEMA

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The Pirate Cinema : TPC is based on a data interception software. It reveals, through a simple diversion, different aspects of exchange platforms, such as the global and multi-situated nature of Peer-to-Peer networks (P2P), the potential for viral transmission, and alternative social models. Its purpose is to make available for aesthetic exploration the pre-existing potentials of Peer-to-Peer architectures.

* [a] VIDEO INSTALLATION VERSION *
The video installation of TPC relies on an automated system that constantly downloads the most viewed torrents. The intercepted data is immediately projected onto a screen, after which it is discarded. Depending on the exhibition space, the installation involves one to five computers, each one monitoring specific categories of files. This allows the system to visualize fragmentary files received and sent all over the world.

* [b] LIVE PERFORMANCE VERSION *
The live performance of TPC relies on an automated system that downloads a selection of torrent files (movies, mp3) selected by the performer. This system is an instrument in itself, producing specific temporal and formal structures, from parameters defined by the performer. The performance lasts the amount of time required to download a group of files. The choice of the downloaded files may be related to the local or actual context. (Place, local cultural context, political, economic, etc.)

* [a] From VHS to Peer-to-Peer *
During the 80s, the availability of VHS brought the cinema into the living room. Today, Peer-to-Peer sharing and the Internet allows us to use our personal computers and mobile phones for cinematic experience. With these means of dissemination, a discussion on the media, the medium and what it specifically conveys gets opened.

* [b] fragmented flows *
The Peer-to-Peer Sharing protocol is based on small samples file fragmentation, it is an exchange unit or chunk. This fragmentation smoothes exchanges to different recipients. File can then be reconstructed sample by sample until completion, from chaotic scraps received from distinct users.

* [c] Mashup Cinema *
From a cinematic perspective, this prior cutting of the media, is also a cutting of the film material and of the narration. These "broadcasting mechanics" involves those potentials - a recombinant cinema - random collages - weaving of different films interlaced frame by frame.

* [d] Tubes logic *
The Pirate Cinema proposes a way of perceiving the film as a digital stream, or rather streams spread worldwide. In other words, The Pirate Cinema proposes to watch the films again through the logic of cables (which is unique to each connection and location).

* [e] Peer-to-Peer architecture as an alternative structure *
During the last ten years, Peer-to-Peer computing has become very popular. This horizontal network architecture paves the way for new modes of exchange and contribution. It recalls the utopian vision of openness and free appropriation that arose in the early days of the Internet. This model is more than a type of digital network architecture, as it clearly reflects ideological choices that have an impact on the way society is understood.

Nicolas Maigret exposes the internal workings of media, through an exploration of their dysfunctions, limitations or failure thresholds which he develops sensory and immersive audio visual experiences. As a curator, he initiated the disnovation.net research, a critique of the innovation propaganda. He teaches at Parsons Paris and cofounded the Art of Failure collective in 2006. His work has been presented in international exhibitions and festivals: Transmediale (Berlin) - File (Sao Paulo) - Museum of Art and Design (New York) - 30th Chaos Communication Congress (Hamburg) - NWFF (Seattle) - SAIC (Chicago) - China Museum of Digital Arts (Beijing) - The Pirate Bay 10th Anniversary (Stockholm) - Palais de Tokyo (Paris) - Eastern Bloc (Montreal) - Gli.tc/h (Birmingham)…

Conception: Nicolas Maigret - 2012-2015 | Software development: Brendan Howell & Jean-Marie Boyer
Project developped with the support of: ArtKillArt, La Maison populaire, Eastern Bloc, CNC / DICREAM (Ministère de la Culture et de la Communication), artist in residence at Maison Populaire - CG 93 (Seine Saint-Denis, France), Mal au Pixel Festival, La Gaîté Lyrique, Labomédia.
Hosted by mur.at + Streamed by creacast.com

Online version commissioned by: Abandon Normal Devices (UK), Aksioma - Institute for Contemporary Art (SLO), Kunsthal Aarhus (DK) | in the framework of Masters & Servers.
This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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