Informative arts ? A plining world.
An interview of Clement Thomas by Alban Saporos.

Alban Saporos : Clement Thomas, you are an artist and you're
pavu.com's Officer General. Isn't this a turnchair ?

Clement Thomas : For who's heard this before, musical chairs are never
enough.

AS: Your "ctgr theory" focuses on your conception of the Network as
"the realized worlds" and you put forward the word of "informative
arts". Yet within pavu.com, you deny making art. Can you explain this
contextual deviance ? To paraphrase Marcel Duchamp, do netsters "make"
pavu.com or is it the contrary ?

CT: Pavu.com does not postulate art as an action basis. I'd say we
work in a field where art is a default value just because what we do
doesn't fit in any other field (in short, we don't produce screws or
batons…not yet though). Theories are wits that have their own working
spheres with flavours such as fluctuations and inflammations: raw
informative material for good upgrades.

AS: I notice with pleasure you share the concept of disposable
theories but my question rather focused on what the Internet brings that
makes it so different and so specific?

CT: I favour theories' natural wearing. The energy release resulting
from theories' banging justifies alone that people continue theorizing.
As to what the Internet brings, i'll answer the Internet brings the
Internet: all the attitudes that come along with the Network, the tools
to make the whole thing work and one extra : informative raw matter in
astromic quantity. Just as Aladdin's sunlamp, you only need to know
where to scrub to extract the marrow. The after contemporary plines the
next route on the Internet.

AS: Marshall MacLuhan once promulgated a famous law according to which
"the medium is the message". Do you believe it now has to be abrogated?
In concrete terms, can we take for granted the merging of a medium with
its revelation - and vice versa - as a statue with the marble it's
carved from? How do you deal with this substantialist approach?

CT: I didn't meet MacLuhan but i respect his sense of humour. What
imports in your question is neither the marble nor the medium but the
repeal : the removal. Arte Povera proved marble didn't need statue. With
Brandt over Haffner, Bertrand Lavier cleverly showed that marble itself
can do without marble. Yet what's up when nothing is to be removed? At
pavu.com's, we leave Michelangelo's slave on Manzoni's pedestal and
focus on one and only goal: becoming the masters of the world.
Therefore,To Mario Merz's "Che Fare ?" we answer "Va bene !"

AS: I wish we get back to this "informative arts" concept. Here we
have an extractive process that relates to my previous question. But
what do you extract?

CT: Defining roughly informative arts supposes to think of information
as a raw material and to extract it without taking in account what it
pretends to convey. By this process based on the technics of signals,
pavu.com operates a semantic reframe that enables to move the pole and
magnetize the position. In this case, you can rightly speak of artistic
engineering.

AS: Yet, you still talk of a "default position"…

CT: Information is the stuff dreams are made of. It's the appropriate
matter for great conquests. Art problematics cannot always be
scrutinized from an ecumenical point of view: reading Greenberg at the
cafe Belge while drinking pints of Grimbergen is as much fulfilling.

AS: How do you deal with a time dominated by sampling and real time
streams? Don't you fear to exhaust a vein without guarantees of
popularization and profit?

CT: Everything gets recycled and informative arts are no exception.
What characterizes informative arts fits in a single word: plining.
Plining is pavu.com's LA technology; it covers the entire process of
data-treatment: from data-drilling and swifting to the final PROduct.
Plining implies upgrade and movement of Informative Objects. Our
PROducts' popularity prove they're open and respond to our clients and
consumers' needs. Moreover, all of them are open-boucle et copyGNou
guaranteed.

AS: An entrepreneurial informative aesthetics, then?

CT: I leave aesthetics to beauticians. My opinion is that if there's
somebody to create whatever aesthetics, then aesthetics exist. Value
judgments do not interest me. Everything ends in exploitable and
upgradable data.

AS: Physicians and astrophysicians speak of initial conditions. Is
there an Informative Big Band?

CT: Informative Big Bang ? T.Click maybe…

AS: Still this vexatious dynamics remains very obscure to anyone not
connected to the Internet and even more to the consumer who doesn't find
there any narcissistic satisfaction. What do you plan to overcome this
difficulty?

CT: Pavu.com carries on a large-scale works policy that will allow a
wider movement of Informative Objects. This needed a new kind of market
so we created the NELia++. Yet we do not forget usual channels and an
infocoronary bypass will soon enable us to provide the target with
beautyfully crafted PROducts that should satisfy consumers who didn't
take the connective plunge yet.

AS: How do you see the immediate future?

CT: Developing the NELia market is of course a priority. Pavu.com will
also take part in upcoming major international events. An online school
is on its way too but let's not unveil the surprize, you'll know more as
soon as Tomorrow…

AS: Thanks Clement Thomas for answering these questions. A last
word?

CT: It is clearly the end of the "tomorrow free tabula shavings!". One
single thing can be said without mistake of pavu.com and informative
arts: "VA BENE!".

+ + +

+ Other pavu.com executive include Paul Dupouy and Jean-Philippe Halgand
who are respectively Chief President and Executive Directeur.

++ The NELia (for New Eco Logic informative arts) has been created by
pavu.com to support online creation. In return of the online hosting of
exchange values named Data-Heads (1 Data-Head