{"id":412,"date":"2013-08-29T09:54:06","date_gmt":"2013-08-29T08:54:06","guid":{"rendered":"http:\/\/databaz.org\/xtrm-art\/?page_id=312\/?p=412"},"modified":"2013-08-29T10:04:46","modified_gmt":"2013-08-29T09:04:46","slug":"ept","status":"publish","type":"post","link":"https:\/\/databaz.org\/xtrm-art\/?p=412","title":{"rendered":"EPT"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/48374011\" width=\"500\" height=\"375\" frameborder=\"0\" webkitallowfullscreen=\"\" mozallowfullscreen=\"\" allowfullscreen=\"\"><\/iframe><\/p>\n<p><a href=\"http:\/\/vimeo.com\/48374011\">EPT<\/a> from <a href=\"http:\/\/vimeo.com\/user5944086\">philippe boisnard<\/a> on <a href=\"https:\/\/vimeo.com\">Vimeo<\/a>.<\/p>\n<p><strong>DIFFUSION<\/strong><br \/>\n_ RAVY &#8211; Rencontres des Arts Visuels &#8211; Yaound&eacute; (Cameroun) _ EPT- live movie &#8211; 2010<br \/>\n_ FONLAD 09, digital arts festival &#8211; Coimbra (Portugal) _ EPT &#8211; live movie &#8211; 2010<br \/>\n_ 2ANNAS, videoart festival &#8211; Riga (Lettonie) _ EPT &#8211; live movie (video version) &#8211; 2010<br \/>\n_ Cologne OFF VI, Cologne International videoart festival (Allemagne) _ EPT-live movie &#8211; 2010<br \/>\n_ SIMULTAN 10 &#8211; Timisoara (Romania) _ EPT- live movie &#8211; 2010<br \/>\n_ Multimedia art festival &ndash; Memory and Futurism &#8211; Alexandrie\/Le Caire &#8211; (Egypt) &#8211; 2010<br \/>\n_ ISCL (Symposium Interactivity in Free Computational Systems) &#8211; University of Salvador de Bahia &#8211; Brazil &#8211; juillet 2009<br \/>\n_Festival Le Marathon des mots &#8211; Centre Bellegarde &#8211; Toulouse __ performance Ept [v.1] &#8211; juin 2009<br \/>\n_ Rencontres po&eacute;troniques des Instants Vid&eacute;os &#8211; La Cartonnerie &#8211; Marseille (France) &#8211; 2009<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><em><strong>EPT<\/strong><\/em>&nbsp;est une performance de&nbsp;<em>po&eacute;sie action num&eacute;rique<\/em>&nbsp;qui trace un parcours depuis la naissance de l&rsquo;&eacute;criture et des signes jusqu&rsquo;au langage informatique, pour arriver &agrave; une abstraction explosive et futuriste du langage et des formes. Elle explore les dimensions &eacute;sot&eacute;riques et spirituelles du langage en liaison avec la question du code et de la s&eacute;miotique num&eacute;rique pour construire un po&egrave;me visuel et sonore immersif et interactif o&ugrave; le son et l&rsquo;image sont g&eacute;n&eacute;r&eacute;s en temps r&eacute;el.<br \/>\nEpt est une exp&eacute;rience po&eacute;tique qui met en jeu le corps dans un espace textuel et sonore, le corps, animant un univers 3D g&eacute;n&eacute;r&eacute; en temps r&eacute;el, est aussi bien un motif scriptural qu&rsquo;un instrument d&rsquo;&eacute;criture. Le geste devient l&rsquo;&eacute;nergie du signe, et c&rsquo;est dans ce d&eacute;ploiement &eacute;nerg&eacute;tique que l&rsquo;&eacute;criture peut explorer de nouvelles voies\/x et interroger les relations invisibles entre le langage et la machine.<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">Le travail video et sonore est r&eacute;alis&eacute; &agrave; partir d&rsquo;une programmation PureData\/GEM et openGL. L&rsquo;interactivit&eacute; est cr&eacute;&eacute;e par une reconnaissance de mouvements, ou par l&rsquo;intensit&eacute; et les fr&eacute;quences de la voix. Avec ces outils informatiques, l&rsquo;&eacute;criture peut alors se d&eacute;ployer dans de multiples dimensions, selon une densit&eacute; hallucinatoire &agrave; la fois du visuel (jeu sur les typographies, sur les textures, les vitesses) et du sonore (travail multicouches li&eacute;e &agrave; la voix et &agrave; des drones programm&eacute;s).<br \/>\nLa cr&eacute;ation num&eacute;rique est pens&eacute;e non pas selon une mim&eacute;tique des instruments de contr&ocirc;le, mais elle devient le prisme pour une intensification esth&eacute;tico-po&eacute;tique de la parole et du corps.<\/p>\n<p><span style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">La technologie serait donc un moyen d&rsquo;apparition __ ou le lieu de d&eacute;ploiement __ d&rsquo;une magie des signes et du langage, dans laquelle pourrait fusionner les dimensions &eacute;l&eacute;mentales du r&eacute;el.<\/span>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><em style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><strong>EPT<\/strong><\/em><span style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">&nbsp;<\/span><span style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">is a performance of<\/span><span style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">&nbsp;<\/span><em style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">digital poetry action<\/em><span style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">&nbsp;<\/span><span style=\"color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">which proposes a course from the birth of writing and signs up computer language, to end up at an explosive and futuristic abstraction of language and form. It explores the esoteric and spiritual dimensions of language on the issue of code and digital semiotic to build an immersive an interactive sound poem where sound and images are generated in real time.<\/span><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \"><em><strong>EPT<\/strong><\/em>&nbsp;is a poetic experience that involves the body in a textual and sound environment, the body, wich animates a 3D universe generated in real time, is both a scriptural pattern than writing instrument. The gesture becomes the energy of sign, and in this energy deployment, writing can explore new ways and question the invisible relationships between language and machine.<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">The video and sound work is realized thanks to a PD \/ GEM and openGL programming. Interactivity is created by a motion capture, or by the intensity and frequency of the voice. With these digital tools, writing can be deployed in multiple dimensions, with a density of hallucinatory both visual (the game fonts, textures, speeds) and auditory (work related to multi-voice and aerial drones programmed).<br \/>\nThe digital design is conceived not as a mimetic of control devices, but it becomes the prism for an aesthetic and poetic intensification of word and body.<br \/>\nThe technology as a means of appearance (or a place of deployment) of a magic of signs and language, in which could merge the elemental dimensions of reality &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;&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; \">&nbsp;<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">Download file about the performance :<\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">English =&gt;&nbsp;<a href=\"http:\/\/databaz.org\/images\/dossier-Ept-v.2E.pdf\" title=\"french\" style=\"color: rgb(204, 0, 0); text-decoration: none; \"><img decoding=\"async\" src=\"http:\/\/databaz.org\/images\/pdf-logo.png\" style=\"border: 1px solid rgb(0, 0, 0); padding: 1px; margin: 2px; \" alt=\"\" \/><\/a><\/p>\n<p style=\"margin: 1.2em 0px; color: rgb(42, 42, 42); font-family: arial, helvetica, verdana; text-align: justify; \">French =&gt;&nbsp;<a href=\"http:\/\/databaz.org\/images\/dossier-Ept-v.2\" title=\"french\" style=\"color: rgb(204, 0, 0); text-decoration: none; \"><img decoding=\"async\" src=\"http:\/\/databaz.org\/images\/pdf-logo.png\" style=\"border: 1px solid rgb(0, 0, 0); padding: 1px; margin: 2px; \" alt=\"\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>EPT from philippe boisnard on Vimeo. DIFFUSION _ RAVY &#8211; Rencontres des Arts Visuels &#8211; Yaound&eacute; (Cameroun) _ EPT- live movie &#8211; 2010 _ FONLAD 09, digital arts festival &#8211; Coimbra (Portugal) _ EPT &#8211; live movie &#8211; 2010 _ 2ANNAS, videoart festival &#8211; Riga (Lettonie) _ EPT &#8211; live movie (video version) &#8211; 2010 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-412","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/412","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=412"}],"version-history":[{"count":3,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/412\/revisions"}],"predecessor-version":[{"id":416,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/412\/revisions\/416"}],"wp:attachment":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}