{"id":264,"date":"2014-03-11T00:39:57","date_gmt":"2014-03-10T23:39:57","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=264"},"modified":"2014-10-28T23:56:03","modified_gmt":"2014-10-28T22:56:03","slug":"ligne-deau","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=264","title":{"rendered":"Ligne d\u2019eau"},"content":{"rendered":"<div>\n<p><a href=\"https:\/\/yannbeauvais.com\/wp-content\/uploads\/2014\/03\/4430.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-858\" alt=\"4430\" src=\"https:\/\/yannbeauvais.com\/wp-content\/uploads\/2014\/03\/4430.jpg\" width=\"220\" height=\"150\" \/><br \/>\n<\/a><\/p>\n<\/div>\n<div>\n<p>First sketch of a new work staging the movements of objects and machines. From one screen to another, without changing quay one changes lines or boats.<\/p>\n<p>In fact the films were often used to live performance, playing with and against the sync of the two screens.<\/p>\n<p><a href=\"https:\/\/yannbeauvais.com\/wp-content\/uploads\/2014\/03\/4432.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-860\" alt=\"4432\" src=\"https:\/\/yannbeauvais.com\/wp-content\/uploads\/2014\/03\/4432.jpg\" width=\"220\" height=\"150\" \/><\/a><\/p>\n<p>Premi\u00e8re esquisse d\u2019un nouveau travail mettant en sc\u00e8ne des mouvements d\u2019objets et d\u2019appareils. D\u2019un \u00e9cran \u00e0 l\u2019autre, sans changer de quai on change de rame ou de bateau. Zazie n\u2019est plus dans le m\u00e9tro.<\/p>\n<p><i>Ligne d\u2019eau<\/i>\u00a0(1989) alterne des mouvements d\u2019appareils sur des m\u00e9tros a\u00e9riens et des p\u00e9niches sur la Seine. Dans ce film il est toujours question d\u2019investir la r\u00e9solution d\u2019une forme \u00e0 partir des figures tels que l\u2019accord, le synchronisme, les phases, et leurs variantes d\u00e9structurantes (en apparences) : dissonances, asynchronismes etc. Ce film n\u00e9cessite au moins deux \u00e9crans afin de constituer et d\u2019affirmer des \u00e9carts dans les processus. La juxtaposition de deux \u00e9crans souligne la fusion potentielle de deux images ou leurs radicales s\u00e9parations. En question cette notion d\u2019articulation horizontale entre les images et non plus seulement la succession verticale d\u2019un photogramme apr\u00e8s l\u2019autre. Le double \u00e9cran horizontal permet de travailler le divers simultan\u00e9 \u00e0 partir des similarit\u00e9s ou des variantes d\u00e9ploy\u00e9es d\u2019une bande \u00e0 l\u2019autre. En ce qui concernes\u00a0<i>Sans Titre 84<\/i>, et\u00a0<i>Ligne d\u2019eau<\/i>, on est en pr\u00e9sence du m\u00eame mat\u00e9riau pour les deux \u00e9crans. Dans un cas avec\u00a0<i>Sans Titre 84<\/i>, le montage des s\u00e9quences diverge d\u2019un \u00e9cran \u00e0 l\u2019autre, alors qu\u2019avec\u00a0<i>Ligne d\u2019eau<\/i>\u00a0il s\u2019agit du m\u00eame film projet\u00e9 avec un retard de quatre secondes entre les \u00e9crans. Ce d\u00e9calage ouvre des horizons et facilite le croisement et l\u2019encha\u00eenement de mouvements dont la projection lin\u00e9aire simple n\u2019aurait fait qu\u2019effleurer.<\/p>\n<p>Zazie no longer rides the subway.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>First sketch of a new work staging the movements of objects and machines. From one screen to another, without changing quay one changes lines or boats. In fact the films were often used to live performance, playing with and against the sync of the two screens. Premi\u00e8re esquisse d\u2019un nouveau travail mettant en sc\u00e8ne des [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[69,65,78,75,57],"class_list":["post-264","post","type-post","status-publish","format-standard","hentry","category-films","tag-double-ecran","tag-double-ecran-twin-screen","tag-fleuve","tag-river","tag-twin-screen"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/264","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=264"}],"version-history":[{"count":4,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/264\/revisions"}],"predecessor-version":[{"id":861,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/264\/revisions\/861"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=264"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}