{"id":9309,"date":"2022-02-15T17:22:26","date_gmt":"2022-02-15T16:22:26","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=9309"},"modified":"2022-03-22T11:39:00","modified_gmt":"2022-03-22T10:39:00","slug":"ddos-distributed-denial-of-service-attack-place-de-la-bastille","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/ddos-distributed-denial-of-service-attack-place-de-la-bastille\/","title":{"rendered":"DDoS, Distributed Denial of Service attack, Place de la Bastille"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"is-style-edge wp-block-heading\">DDoS, Distributed Denial of Service attack, Place de la Bastille<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\"><meta charset=\"utf-8\">JEAN-BENOIT LALLEMANT &amp; RICHARD LOUVET<\/h2>\n\n\n\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Installation<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p class=\"is-style-default\"><strong>The artist presents an installation made of 10.000 printed cobbles, showing Google Street View pictures of the Place de la Bastille. <\/strong><\/p>\n\n\n\n<p class=\"is-style-default\">This work reproduces the DDoS hacking technique, which consists in saturating or slowing down a website by simultaneously attacking a large number of interconnected identical programmes, in an obvious analogy with the French Revolution.\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/DDoS-Chamarande-1-1024x683.png\" alt=\"\" class=\"wp-image-9306\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/DDoS-Chamarande-1-1024x683.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/DDoS-Chamarande-1-300x200.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/DDoS-Chamarande-1-768x513.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/DDoS-Chamarande-1-1536x1025.png 1536w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\"><em>DDoS, Distributed Denial of Service attack, Place de la Bastille<\/em>, Jean-Benoit Lallemant &amp; Richard Louvet, Biennale of Digital Imagination 2018 \u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/ddos-distributed-denial-of-service-attack-place-de-la-bastille\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/ddos-distributed-denial-of-service-attack-place-de-la-bastille\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=DDoS%2C+Distributed+Denial+of+Service+attack%2C+Place+de+la+Bastille&amp;url=https:\/\/chroniques-biennale.org\/en\/ddos-distributed-denial-of-service-attack-place-de-la-bastille\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Jean-Benoit Lallemant &#038; Richard Louvet <sup>(FRA)<\/sup><\/h2><div class=\"artisteContent\"><p class=\"p1\"><span class=\"s1\">Born in Melun in 1981, Jean-Beno\u00eet Lallemant now lives and works in Paris, after a childhood spent in the Amazonian rainforest in Brazil. By applying cartographic technology and military imaging devices in a critical way, and by striving to rework symbols of power, Jean-Beno\u00eet Lallemant\u2019s works put governance strategies under the microscope.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Richard Louvet was born in 1979 and lives and works in Rennes. His work as an artist mainly involves photography, which he sees as a domain of artistic exchange and social experiences.<\/span><\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p class=\"is-style-default\">Printed on Invercote G 260 g\/m2<br>Produced by Iggesund Paperboard Shaping, Imprimerie des Hauts de Vilaine<\/p>\n\n\n\n<p class=\"is-style-default\">Thanks to Kevin Lafaye, software designer<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n<\/div>\n<\/div>\n","protected":false},"featured_media":9308,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[29],"class_list":["post-9309","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/9309","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/9308"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=9309"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=9309"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=9309"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}