{"id":14807,"date":"2025-07-25T01:48:00","date_gmt":"2025-07-25T00:48:00","guid":{"rendered":"https:\/\/www.instantsvideo.com\/blog\/video\/hypervision\/"},"modified":"2025-08-26T14:10:52","modified_gmt":"2025-08-26T13:10:52","slug":"hypervision","status":"publish","type":"portfolio","link":"https:\/\/www.instantsvideo.com\/blog\/video\/hypervision\/","title":{"rendered":"Hypervision"},"content":{"rendered":"\n

Film de \u00ab found footage \u00bb \u00e0 partir de vid\u00e9os de cam\u00e9ras thermiques (inspir\u00e9 des travaux de Harun Farocki, Chris Marker et Paul Virilio). Le 29\/02\/2024 \u00e0 Gaza l\u2019arm\u00e9e Isra\u00e9lienne tire sur un convoi humanitaire de nourriture. Elle d\u00e9clare que cet incident (dont le bilan est une centaine de morts) est d\u00fb \u00e0 un mouvement de foule : comme preuve elle fournit aux m\u00e9dias internationaux une vid\u00e9o capt\u00e9e par la cam\u00e9ra thermique d\u2019un drone. D\u00e8s la seconde guerre mondiale la technologie vid\u00e9o fut utilis\u00e9e comme syst\u00e8me de t\u00e9l\u00e9guidage de missiles. Dans la guerre moderne, l\u2019image n\u2019est plus seulement un discours, elle est aussi une arme \u2013 litt\u00e9ralement : la cam\u00e9ra thermique est un syst\u00e8me de d\u00e9tection et de vis\u00e9e. Cette technologie de vision accro\u00eet la vue (localisation de sources de chaleur, zoom abolissant la distance, vision dans l\u2019obscurit\u00e9) : elle cr\u00e9e une perception artificielle. Mais elle produit des biais perceptifs, l\u2019aspect en \u00ab n\u00e9gatif \u00bb de l\u2019image d\u00e9r\u00e9alise la vision : la cible vivante appara\u00eet lumineuse sur un fond sombre. Comment ne pas confondre cette forme luminescente avec celle d\u2019un bonus de jeu vid\u00e9o, quand elle s\u2019aligne sur la r\u00e9ticule de vis\u00e9e ? Elle renvoie le visionneur \u00e0 d\u2019autres images, \u00e0 tout un imaginaire visuel dont il est impr\u00e9gn\u00e9 (cin\u00e9ma, jeu vid\u00e9o), biaisant ainsi son interpr\u00e9tation. De plus, cette vision \u00e9trange produit des illusions cognitives qui interrogent la fiabilit\u00e9 de cette d\u00e9tection\/d\u00e9cision m\u00e9diatis\u00e9e. Cette image influence-t-elle la d\u00e9cision de tirer ? Le d\u00e9sir de tirer ?<\/p>\n\n\n\n

A \u00ab\u00a0found footage\u00a0\u00bb film based on thermal camera footage (inspired by the work of Harun Farocki, Chris Marker and Paul Virilio). On 29\/02\/2024 in Gaza, the Israeli army fires on a humanitarian food convoy. It claims that the incident was caused by a mob panic : as proof, it provides the international media with a video captured by a drone’s thermal camera. Since the Second World War, video technology has been used as a missile guidance system. In modern warfare, the image is no longer just a discourse, it is also a weapon – literally : the thermal camera is a detection and targeting system. This vision technology enhances sight (heat source localization, distance-abolishing zoom, vision in the dark) : it creates artificial perception. But it produces perceptual biases : the \u00ab\u00a0negative\u00a0\u00bb aspect of the image de-realizes the vision, the living target appears luminous against a dark background. How can we not confuse this luminescent shape with that of a video game bonus, when it aligns with the aiming reticle ? It refers the viewer to other images, to a whole visual imaginary with which he or she is imbued (cinema, video game), thus skewing his or her interpretation. What’s more, this strange vision produces cognitive illusions that call into question the reliability of this mediated detection\/decision. Does this image influence the decision to shoot? The desire to shoot?<\/em><\/p>\n\n\n\n

*AC : Cruaut\u00e9 animale & coups de feu \/ TW: Animal cruelty & shooting<\/p>\n\n\n\n

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Joris Guibert<\/strong> est vid\u00e9aste plasticien, enseignant en photographie et cin\u00e9ma, et chercheur ind\u00e9pendant. Ses travaux de recherches \u00e9tudient les cultures visuelles, et l\u2019esth\u00e9tique des images en mouvement. Ils ont \u00e9t\u00e9 publi\u00e9s par les revues CiN\u00e9MAS (\u00e9dit\u00e9e par l\u2019Universit\u00e9 de Montr\u00e9al), Turbulences vid\u00e9o (\u00e9dit\u00e9e par Vid\u00e9oformes) et L\u2019autre musique (\u00e9dit\u00e9e par l\u2019Institut ACTE \u2013 CNRS, Universit\u00e9 de Paris 1 Panth\u00e9on-Sorbonne). Il a \u00e9galement \u00e9crit durant un an dans Revue & corrig\u00e9e un essai sur les \u00e9critures audiovisuelles (cin\u00e9ma, vid\u00e9o et performance). Ses films et installations ont \u00e9t\u00e9 pr\u00e9sent\u00e9s en France et \u00e0 l\u2019international aux c\u00f4t\u00e9s d\u2019artistes tels Nam June Paik, Bill Viola, John Sanborn, Michel Jaffrenou, Catherine Ikam : exposition personnelle \u00e0 la Film Gallery des \u00e9ditions Re:voir (Paris), ou exposition collective comme Atout Paik (commissariat Jean-Paul Fargier), Festival International d\u2019Art Vid\u00e9o de Casablanca (Maroc), Bruits (Cit\u00e9 du Cin\u00e9ma, Institut ACTE Universit\u00e9 Sorbonne Paris 1 \/ CNRS \/ ENS Louis-Lumi\u00e8re), Festival international des arts de lumi\u00e8re Interference (Tunisie). Son travail de performance audiovisuelle a \u00e9t\u00e9 r\u00e9alis\u00e9 notamment \u00e0 la Cit\u00e9 des Sciences et de l\u2019Industrie (Vision\u2019R, Paris), aux Subsistances (Mirage festival, Lyon), au Centre d\u2019art Sporobole (Canada), \u00e0 l\u2019Institut Fran\u00e7ais de Tunisie (Tunis).<\/p>\n\n\n\n

Joris Guibert<\/strong> is a visual artist, a photography and film teacher, and an independent researcher. His research studies visual cultures and the aesthetics of moving images. It has been published by the journals CiN\u00e9MAS (published by the University of Montreal), Turbulences vid\u00e9o (published by Vid\u00e9oformes), and L\u2019autre musique (published by the Institut ACTE \u2013 CNRS, University of Paris 1 Panth\u00e9on-Sorbonne). He also wrote an essay on audiovisual writing (cinema, video, and performance) for a year in Revue & corrig\u00e9e. His films and installations have been presented in France and internationally alongside artists such as Nam June Paik, Bill Viola, John Sanborn, Michel Jaffrenou, and Catherine Ikam: solo exhibitions at the Film Gallery of Re:voir (Paris), and group exhibitions such as Atout Paik (curated by Jean-Paul Fargier), the Casablanca International Video Art Festival (Morocco), Bruits (Cit\u00e9 du Cinema, ACTE Institute (Sorbonne University Paris 1 \/ CNRS \/ ENS Louis-Lumi\u00e8re), Interference International Festival of Light Arts (Tunisia). His audiovisual performance work has been produced at the Cit\u00e9 des Sciences et de l\u2019Industrie (Vision\u2019R, Paris), at Les Subsistances (Mirage Festival, Lyon), at the Sporobole Art Center (Canada), and at the French Institute of Tunisia (Tunis).<\/em><\/p>\n\n\n\n

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