{"id":365,"date":"2013-08-28T16:48:36","date_gmt":"2013-08-28T15:48:36","guid":{"rendered":"http:\/\/databaz.org\/xtrm-art\/?page_id=312\/?p=365"},"modified":"2013-08-29T10:13:16","modified_gmt":"2013-08-29T09:13:16","slug":"contact","status":"publish","type":"post","link":"https:\/\/databaz.org\/xtrm-art\/?p=365","title":{"rendered":"CONTACT"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/37460393\" width=\"500\" height=\"375\" frameborder=\"0\" webkitallowfullscreen=\"\" mozallowfullscreen=\"\" allowfullscreen=\"\"><\/iframe><br \/>\n<a href=\"http:\/\/vimeo.com\/37460393\">Teaser de CONTACT \/\/ hp process<\/a> from <a href=\"http:\/\/vimeo.com\/user5944086\">philippe boisnard<\/a> on <a href=\"https:\/\/vimeo.com\">Vimeo<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><strong>DIFFUSION<\/strong><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><strong>&#8211;&nbsp;<\/strong>festival&nbsp;<em><strong style=\"color: rgb(204, 0, 0); text-decoration: none; \"><a href=\"http:\/\/festival-bruisme.blogspot.fr\/\" style=\"color: rgb(204, 0, 0); text-decoration: none; \">C<\/a>hercher le texte<\/strong><\/em>&nbsp;(Le Cube &#8211; &nbsp;Issy-les-Moulineaux) septembre 2013.<br \/>\n&#8211; CIPM<b><i>&nbsp;<\/i><\/b>(Marseille) juin 2013.<br \/>\n&#8211; Festival THSF<b><i>&nbsp;<\/i><\/b>(Toulouse) mai 2013.<br \/>\n&#8211; Soir&eacute;es : Behind the scree,n<b><i>&nbsp;<\/i><\/b>(la SAT, Montr&eacute;al, Canada) mars 2013.<br \/>\n&#8211; Printemps des po&egrave;tes<b><i>&nbsp;<\/i><\/b>(Qu&eacute;bec, Canada) mars 2013.<br \/>\n&#8211; Live Action festival (G&ouml;ttborg, Su&egrave;de), soutenu par Le consulat Fran&ccedil;ais, mai 2012.<br \/>\n&#8211; Festival Les empreintes num&eacute;riques (Toulouse), et work-shop d&rsquo;une semaine sur une version participative du logiciel programm&eacute; [Open data chat] pour la performance, mai 2012.<br \/>\n&#8211; Supermarket (Stosckholm, Su&egrave;de), f&eacute;vrier 2012.<br \/>\n&#8211; Sc&egrave;ne po&eacute;tique\/ENS Lyon (Lyon), janvier 2012.<br \/>\n&#8211; Colloque E-Formes 4 (St Etienne), d&eacute;cembre 2011.<br \/>\n&#8211; Festival EPAF (Varsovie, Pologne), novembre 2011.<br \/>\n&#8211; Festival Inra&#8217;Action (S&egrave;te), octobre 2011.<br \/>\n&#8211; Poesia A Strappo (Crema Italie), septembre 2011.<br \/>\n&#8211; Festival ISI (Montpellier), septembre 2011.<br \/>\n&#8211; Centre Pompidou, p&eacute;riph&eacute;riques du march&eacute; de la po&eacute;sie (Paris), juin 2011.<br \/>\n&#8211; Labtolab\/Vision&#8217;R (Nantes) , juin 2011.<br \/>\n&#8211; IX&egrave;me International Art Action Festival (Monza &#8211; Italie), mai 2011.<br \/>\n&#8211; Sexpo&eacute;sie (P&eacute;rigueux), mai 2011.<br \/>\n&#8211; Festival Les Pluriels (Rouen), mars 2011.<br \/>\n&#8211; Festival Voix de la M&eacute;diterran&eacute;e (Lod&egrave;ve), juillet 2010. &#8211; LeMotif, p&eacute;riph&eacute;riques du march&eacute; de la po&eacute;sie (Paris), juin 2010.<br \/>\n&#8211; L&#8217;&eacute;t&eacute; des arts en Auxois Le CRANE &#8211; Chevigny) , juin 2010.<br \/>\n&#8211; R&eacute;surgences#1 (La Plateforme &#8211; Paris), juin 2010.<\/p>\n<p>&nbsp;<span style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">Un homme et une femme s&rsquo;&eacute;crivent &agrave; travers des &eacute;crans interpos&eacute;s et improvisent derri&egrave;re leurs claviers un dialogue dans lequel ils d&eacute;construisent et brouillent les codes du chat et des relations sur les r&eacute;seaux sur un mode po&eacute;tique et performatif. Cet &eacute;change m&eacute;diatis&eacute; par les technologies num&eacute;riques, entre intimit&eacute; et virtualit&eacute;, donne naissance &agrave; une relation o&ugrave; les tensions et les d&eacute;sirs se d&eacute;ploient dans un univers visuel et sonore interactif pour aller jusqu&rsquo;&agrave; la saturation\/dislocation du langage, du son et du corps.<\/span><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><em><strong>CONTACT<\/strong>&nbsp;\/ une performance de po&eacute;sie action num&eacute;rique \/ un homme \/ une femme \/ ils s&rsquo;&eacute;crivent \/ chacun derri&egrave;re\/devant un &eacute;cran \/ po&eacute;sie improvis&eacute;e \/ ils tentent de se parler \/ son et texte tap&eacute; projet&eacute; sampl&eacute; destructur&eacute; en temps r&eacute;el \/ po&eacute;sie visuelle et sonore \/ jeu sur les surfaces du langage \/ du bout de doigts actioner sculpter les mots par une interaction son-corps-texte \/ composition-recomposition du possible d&rsquo;un dialogue \/ mat&eacute;rialit&eacute; num&eacute;rique du texte diffract&eacute; dans les &eacute;crans \/ mat&eacute;rialit&eacute; des corps diffract&eacute;s dans les mots \/ le corps comme surface de projection \/ la surface du texte comme espace de d&eacute;sir \/ du corps intime &agrave; la chair num&eacute;rique \/ une relation se tisse dans l&rsquo;entrelacement num&eacute;rique des phrases projet&eacute;es chuchot&eacute;es \/ le corps du texte en explosion \/ ils tentent de s&rsquo;approcher \/ de se toucher \/ le texte en extension du corps \/ ne pouvoir se toucher que dans la tension de la distance m&eacute;diatis&eacute;e \/ se tenir dans cet &eacute;cart \/ et peut-&ecirc;tre traverser l&rsquo;&eacute;cran \/ dans un d&eacute;bordement du langage et du corps \/ au-del&agrave; des &eacute;crans \/ au-del&agrave; de soi \/ jusqu&rsquo;&agrave; l&rsquo;autre &hellip;<\/em><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;..<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><strong>CONTACT<\/strong>&nbsp;\/ performance of digital action poetry \/ man \/ woman \/ they write to each other \/ each one behind\/in front of a screen \/ improvised poetry \/ they try to speak \/ sound and text typed showed deconstructed sampled in real time \/ visual and sound poetry \/ to play with the surfaces of language \/ with fingertips stimulating and carving the words by a sound-body-text interaction \/ composition-recomposition of a possible dialogue \/ digital materiality of text diffracted in the screens \/ body materiality diffracted in words \/ body as a screening surface \/ text&rsquo;s surface as a space of desire \/ from intimata body close to the digital flesh \/ a relationship developing in the digital interlacing of the whispered and showed sentences \/ body text in explosion \/ they try to be close to each other \/ they try to be next to each other \/ text as extension of the body \/ being able to touch the other only in the tension of the network distance \/ standing in this gap \/ and perhaps to go through the screen \/ in a flood of language and body \/ beyond the screens \/ over self \/ up to the other &hellip;<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;..<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><strong>CONTACT<\/strong>&nbsp;<strong>est un projet modulaire, qui, &agrave; partir de la performance, se d&eacute;cline sous forme d&rsquo;installation, d&rsquo;installation participative et interactive, et sous forme de performance en r&eacute;seau.<\/strong><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">&gt;&gt;&gt;&gt; Dans le cadre du colloque&nbsp;<strong><em><a href=\"http:\/\/portail.univ-st-etienne.fr\/bienvenue\/actualites\/cierec-colloque-e-formes-4-336433.kjsp?RH=actu\" style=\"color: rgb(204, 0, 0); text-decoration: none; \">E-Formes 4&nbsp;<\/a><\/em><\/strong>&agrave; l&rsquo;universit&eacute; de St Etienne le 2 d&eacute;cembre 2011, a eu lieu la nouvelle version de la performance&nbsp;<strong>CONTACT<\/strong>&nbsp;&agrave; la Maison de l&rsquo;universit&eacute;.<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">La performance s&rsquo;est d&eacute;roul&eacute; &agrave; la fois in situ et en temps r&eacute;el sur le web :&nbsp;<a href=\"http:\/\/databaz.org\/hp-process\/www.contact-hp.com\" style=\"color: rgb(204, 0, 0); text-decoration: none; \">www.contact-hp.com<\/a><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">De nouveaux processus sont apparus :<br \/>\n__ le texte &eacute;crit par Philippe Boisnard et Hortense Gauthier sur sc&egrave;ne de fa&ccedil;on improvis&eacute;e est visible et lisible sur le web en direct, mais de fa&ccedil;on modifi&eacute;e, et l&rsquo;internaute peut suivre le dialogue entre &ldquo;Elle&rdquo; et &ldquo;Lui&rdquo;. Ce d&eacute;placement est celui d&rsquo;une d&eacute;formation, avec des bugs et des agencements qui lui sont propres. A partir de la po&eacute;sie visuelle tiss&eacute;e sur sc&egrave;ne, une autre se cr&eacute;e selon les normes du web, selon des possibilit&eacute;s d&rsquo;une g&eacute;n&eacute;rativit&eacute; du code, qui construira le site au fur et &agrave; mesure de la performance.<br \/>\n__ le flux d&rsquo;&eacute;criture est capt&eacute; en temps r&eacute;el et le texte sauvegard&eacute;, mais selon une logique de d&eacute;placement, la sauvegarde modifie l&rsquo;agencement du texte qui ne se donne pas tel qu&rsquo;il a eu lieu dans la r&eacute;alit&eacute; de sa construction. L&rsquo;ensemble du dialogue est conserv&eacute; sous formes de fichier texte (imprimables) et au fur et &agrave; mesure des performances, les dialogues accumul&eacute;s forment des archives.<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><em>Entre Net-Art, po&eacute;sie sonore, g&eacute;n&eacute;rative et interactive, HP Process tente, avec cette nouvelle version de CONTACT, d&rsquo;agencer tous les m&eacute;diums num&eacute;riques dans une logique interm&eacute;dia o&ugrave; le texte &eacute;clat&eacute; entre la sc&egrave;ne, la voix, le corps et le web cr&eacute;e des conjonctions et des disjonctions. L&rsquo;&eacute;criture en tant que flux qui circule des doigts &agrave; l&rsquo;&eacute;cran, de l&rsquo;&eacute;cran au son et au r&eacute;seau pour revenir envelopper la peau et cr&eacute;er d&rsquo;autres espaces de projection de soi et de l&rsquo;autre.<br \/>\nLe dispositif d&rsquo;&eacute;criture performatif en temps r&eacute;el, retransmis sur le web en temps r&eacute;el, fonctionne comme une mise en ab&icirc;me de la communication sur les r&eacute;seaux o&ugrave; les &ecirc;tres tentent de se trouver, de se toucher, de transcender la distance tout en la maintenant comme condition m&ecirc;me du d&eacute;sir, o&ugrave; les corps s&rsquo;effacent pour mieux resurgir de fa&ccedil;on brouill&eacute;e, modifi&eacute;e, diffract&eacute;e &hellip; Cette extension sur le web de CONTACT pose la question de la transposition du texte d&rsquo;un espace &agrave; un autre, d&rsquo;un m&eacute;dium &agrave; un autre, et de sa mutabilit&eacute; ; elle interroge le web comme espace m&ecirc;me de l&rsquo;archive de la parole, dans lequel les logiques de l&rsquo;&eacute;ph&eacute;m&egrave;re et de la mutation sont &agrave; l&rsquo;oeuvre<\/em>.<br \/>\n&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;&hellip;..<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">During the colloque&nbsp;<strong><a href=\"http:\/\/portail.univ-st-etienne.fr\/bienvenue\/actualites\/cierec-colloque-e-formes-4-336433.kjsp?RH=actu\" style=\"color: rgb(204, 0, 0); text-decoration: none; \">E-Formes<\/a><\/strong>&nbsp;4 at the university of St Etienne on December 2sd 2011 at Maison de l&rsquo;universit&eacute; :<br \/>\na new version of CONTACT has been played<br \/>\nin situ and connected in real-time on the Web :&nbsp;<strong>www.contact-hp.com<\/strong><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">__ The text written by Philippe Gauthier Boisnard and Hortense improvised on stage is visible and legible live on the web, but it is modified, and the user can follow the dialogue between &ldquo;She&rdquo; and &ldquo;He&rdquo;. This shift is that of a strain with bugs and arrangements of its own. From visual poetry spined on stage, another is created according to web&rsquo;s standards, according to the possibilities of generative code, which build the website as performance goes along.<br \/>\n__ The writing&rsquo;s flow is captured in real time and the text saved, but according to a moving logic, backup changes the arrangement of the text which isn&rsquo;t given as it took place in the reality of its construction. The composed dialogue is stored as a whole as a text file (printable) and as performance goes along, the accumulated dialogues make up archives<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><em>From Net-Art, generative and interactive poetry, and sound poetry, HP Process attempt with this new version of CONTACT, to arrange all digital mediums on a intermedia logic where the text exploded between scene, voice, body, and web creates conjunctions and disjunctions. Writing as a stream flowing from fingers to the screen, from the screen to the sound to return to envelop the skin and create other projection&rsquo;s spaces.<br \/>\nThe device of performative writing in real-time, broadcast on the web in real time, functions as a play-within-a-play of communication networks where people are trying to find each other, to touch each other, to transcend the distance while maintaining it as a condition for desire, where bodies fade to reappear in a blurred, modified, diffracted way &hellip; This extension on the web of CONTACT raises the question of the transposition of the text from one space to another, from one medium to another, and its mutability ; it questions the web as a space of speech&rsquo;s archive, in which the logic of the ephemeral and the mutation are at work.<\/em><\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/62889336?title=0&amp;byline=0&amp;portrait=0&amp;color=ffffff\" width=\"500\" height=\"281\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe> <\/p>\n<p><a href=\"http:\/\/vimeo.com\/62889336\">CONTACT par HP Process<\/a> from <a href=\"http:\/\/vimeo.com\/satmontreal\">Society for Arts and Technology<\/a> on <a href=\"https:\/\/vimeo.com\">Vimeo<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Teaser de CONTACT \/\/ hp process from philippe boisnard on Vimeo. &nbsp; DIFFUSION &#8211;&nbsp;festival&nbsp;Chercher le texte&nbsp;(Le Cube &#8211; &nbsp;Issy-les-Moulineaux) septembre 2013. &#8211; CIPM&nbsp;(Marseille) juin 2013. &#8211; Festival THSF&nbsp;(Toulouse) mai 2013. &#8211; Soir&eacute;es : Behind the scree,n&nbsp;(la SAT, Montr&eacute;al, Canada) mars 2013. &#8211; Printemps des po&egrave;tes&nbsp;(Qu&eacute;bec, Canada) mars 2013. &#8211; Live Action festival (G&ouml;ttborg, Su&egrave;de), soutenu [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[60,48,23,51],"class_list":["post-365","post","type-post","status-publish","format-standard","hentry","category-performance","tag-digital-performance","tag-digital-poetry","tag-hp-process","tag-poesie-numerique"],"_links":{"self":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/365","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=365"}],"version-history":[{"count":5,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/365\/revisions"}],"predecessor-version":[{"id":418,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/365\/revisions\/418"}],"wp:attachment":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=365"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=365"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=365"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}