{"id":2989,"date":"2021-10-05T16:34:11","date_gmt":"2021-10-05T14:34:11","guid":{"rendered":"http:\/\/hiros.alwaysdata.net\/project\/c-o-journeys-2\/"},"modified":"2021-11-25T18:18:04","modified_gmt":"2021-11-25T17:18:04","slug":"c-o-journeys-2","status":"publish","type":"project","link":"https:\/\/hiros.be\/fr\/project\/c-o-journeys-2\/","title":{"rendered":"C.O. Journeys"},"content":{"rendered":"

Le moyen utilis\u00e9 est une camera obscura de dimension suffisamment grande pour pouvoir contenir une trentaine de personnes et con\u00e7ue pour \u00eatre mobile, de sorte qu\u2019en modifiant son orientation, elle donnera une image diff\u00e9rente et cr\u00e9ant ainsi son propre petit espace de projection. La camera obscura fonctionne comme zone dans laquelle le public est assis, comme m\u00e9canisme par lequel l\u2019image est transmise et, dans une plus large mesure, comme sujet de la performance elle-m\u00eame.<\/p>\n

C\u2019est une sorte de proto-cin\u00e9ma s\u2019inscrivant dans la relation quelque peu inconfortable qui existe entre la performance live et le film, mais qui poss\u00e8de ses caract\u00e9ristiques quelque peu \u00e9tranges.
\nL\u2019\u00e9tranget\u00e9 du ph\u00e9nom\u00e8ne de la camera obscura – l\u2019inversion de l\u2019image, le fait que les sujets soient \u00e0 la fois physiquement situ\u00e9s \u00e0 l\u2019int\u00e9rieur et s\u00e9par\u00e9s de la projection qui en r\u00e9sulte, le caract\u00e8re inexplicable de la qualit\u00e9 picturale de l\u2019image – se refl\u00e8te dans une s\u00e9rie de r\u00e9cits servant d\u2019interconnexion entre fiction, faux documentaire et biographies r\u00e9elles. Ces r\u00e9cits tentent de saisir le sens ambigu inh\u00e9rent \u00e0 la camera obscura, tandis que l\u2019ensemble du processus \u00e9voque une histoire des techniques de production d\u2019images.<\/p>\n

C.O. Journeys s\u2019inscrit dans le prolongement de la collaboration entre Joanna Bailie (compositrice) et Christoph Ragg (sc\u00e9nographe), un partenariat symbiotique qui compte parmi ses objectifs principaux l\u2019exploration de la relation entre le son\/le temps et l\u2019image\/l\u2019espace. Leur approche touche la forme (ax\u00e9e sur la \u00ab micro-structure \u00bb) plut\u00f4t qu\u2019une d\u00e9marche strictement dramaturgique. Les diff\u00e9rents \u00e9l\u00e9ments sonores et visuels sont disloqu\u00e9s, analys\u00e9s et reconstitu\u00e9s de mani\u00e8re \u00e0 r\u00e9v\u00e9ler certaines des possibilit\u00e9s et des limites du travail multidisciplinaire.<\/p>\n","protected":false},"excerpt":{"rendered":"

Le moyen utilis\u00e9 est une camera obscura de dimension suffisamment grande pour pouvoir contenir une<\/p>\n","protected":false},"author":2,"featured_media":2985,"template":"","nature":[],"sub-category":[],"agenda-year":[],"acf":[],"yoast_head":"\nC.O. Journeys – Hiros<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hiros.be\/fr\/project\/c-o-journeys-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"C.O. 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