# DEUXIÈME ÉCRAN / PREMIER ÉCRIT
In partnership with the Université Clermont Auvergne / the Service Université Culture / the Institut des Sciences de la Communication du CNRS (ISCC pôle Auvergne) / Littérature au centre (LAC).
Maison de la Culture
Salle Boris Vian
Elise Aspord, doctor of Art History (thesis on Art and Intelligence, artificial and robotic life, Paris X, 2007).
Lorenzo Soccavo is a researcher associated with the research program “Ethics and Myths of Creation” at the Institut Charles Cros and independent advisor in the future of books, reading, and publishing in Paris.
He is author of several works including: Les Mutations du Livre et de la Lecture (2014), De la bibliothèque à la bibliosphère (2011) et Gutenberg 2.0, le futur du livre (2007). He is the designer of the future of books and regularly participates as a lecturer, teacher or trainer, for all book and reading professionals, as well as of print and digital French publishing. His project Bibliosphère is a member of the Collectif i3Dim, the 3D immersive incubator, and several of his prototypes of digital mediation are developed on the 3D immersive web platform EVER [Environnement Virtuel pour l’Enseignement et la Recherche] of the University of Strasbourg.
Blog Lorenzo Soccavo : http://prospectivedulivre.blogspot.fr/
“The internal voyage of the reader” : https://www.wattpad.com/user/Lorenzo-Soccavo
EVER : http://www.ever.unistra.fr/
Golnaz Behrouznia is an artist in residency at VIDEOFORMES and presents Lumina Fiction #2 à la Galerie de l’Art du Temps.
At the beginning was the verb-image!
We will confront the two stages of writing: ante-production and post-production writing for images. Through this double tempo, the question of publishing (for the artist) and of reading (for the receiver) arises again. Read a text, read an image…
Two stages for this panel as well, in which we hope to confront and intersect: the image becomes a verb; the verb becomes an image.
The image becomes a verb. This is Lorenzo Soccavo’s opportunity to discuss the issue of “non-verbal narration”. How can images alone narrate? What does naming do, what does naming entail? There are a number of short films, documentary films, fiction, animated films… stories without words. Yet they are not exempt. They are based, perhaps even more than others, on an enormous amount of writing work beforehand; work that makes the subject readable and colors it in a certain way.
The verb is made an image. With electronic writing, new practices appear, not literally, but re-discussed. To “paint a portrait of a bird” could have been the title of this panel. And for a while, it was considered. For with our first interlocutor, we will question the place of the tweet (chirping) in our lives. The emergence of live tweets, on a television show (series or political debate), during a movie preview, or during the coverage of a news item in the local press… raises the question of the position of the reader-author. The researcher from the Catholic University of Milan, Marina Villa, even speaks of a second screen. Interactivity, improvisation, spontaneous writing… or, on the contrary, prepared reflection, launched on social networks, are at the heart of this exercise as well as within the sphere of twitterature, a movement descended from Oulipo (a workshop of potential literature).