Fragments \u00e9crits et diffus\u00e9s \u00e0 des moments distincts, dans diff\u00e9rents espaces publics radiophoniques de France Inter, entre juillet et ao\u00fbt 2008 :<\/p>\n\n\n\n
14 juillet 2008 \u2014 apr\u00e8s un d\u00e9fil\u00e9 militaire t\u00e9l\u00e9vis\u00e9 (\u00e9mission Le T\u00e9l\u00e9phone sonne<\/em>)<\/strong><\/p>\n\n\n\n \u2014 \u00ab Ext\u00e9rieur jour. Soleil avec quelques nuages. Les parachutistes atterrissent. \u00bb<\/p>\n\n\n\n \u2014 \u00ab Sur un tapis bien ficel\u00e9. En souvenir des enfants tu\u00e9s par la France \u00bb<\/p>\n<\/blockquote>\n\n\n\n Ces phrases empruntent volontairement le langage du cin\u00e9ma (didascalies, indications de d\u00e9cor, mise en sc\u00e8ne). 18\u201319 ao\u00fbt 2008 \u2014 \u00e9change radiophonique (\u00e9mission Parking d\u2019\u00c9t\u00e9<\/em>)<\/strong><\/p>\n\n\n\n \u2014 \u00ab Hello ? \u00bb<\/p>\n<\/blockquote>\n\n\n\n Formule minimale, adress\u00e9e comme une demande d\u2019acc\u00e8s, un appel, une tentative d\u2019entr\u00e9e dans un espace autoris\u00e9.<\/p>\n\n\n\n 19 Ao\u00fbt 2008\u2014 note manuscrite, puis transmise (\u00e9mission Parking d\u2019\u00c9t\u00e9<\/em>)<\/strong><\/p>\n\n\n\n \u2014 \u00ab Et nous rentre \u00e2mes par le corridor. \u00bb<\/p>\n<\/blockquote>\n\n\n\n Phrase d\u2019abord \u00e9crite sur papier, o\u00f9 l\u2019\u00e9cart orthographique (rentre \u00e2mes) fait appara\u00eetre une h\u00e9sitation du sens : entrer \/ revenir \/ d\u00e9poser une part de soi.<\/p>\n\n\n\n Le 18 ao\u00fbt 2008, une unit\u00e9 de soldats fran\u00e7ais est prise dans une embuscade dans la vall\u00e9e d\u2019Uzbeen, en Afghanistan. Dix soldats, pour la plupart parachutistes, sont tu\u00e9s lors d\u2019affrontements violents, qui se poursuivent jusqu\u2019au lendemain. L\u2019information devient publique entre le 19 et le 20 ao\u00fbt 2008. Relus apr\u00e8s les faits, ces fragments apparaissent comme les \u00e9l\u00e9ments dispers\u00e9s d\u2019une m\u00eame structure d\u2019entr\u00e9e et de passage :<\/p>\n\n\n\n La phrase \u00ab Sur un tapis bien ficel\u00e9. En souvenir des enfants tu\u00e9s par la France<\/em> \u00bb introduit d\u2019embl\u00e9e une dimension de deuil et de responsabilit\u00e9 collective. Elle ne d\u00e9signe pas un \u00e9v\u00e9nement pr\u00e9cis, mais installe un fond de violence historique et politique, comme un sol symbolique sur lequel la suite va s\u2019inscrire.<\/p>\n\n\n\n La phrase \u00ab nous rentre \u00e2mes par le corridor<\/em> \u00bbprend alors une valeur particuli\u00e8re. Le nous<\/em> n\u2019y d\u00e9signe plus un sujet individuel, mais un collectif ind\u00e9termin\u00e9. La phrase semble ainsi condenser, sans la formuler explicitement, l\u2019id\u00e9e d\u2019un passage sans retour \u2014 non celui des corps, mais celui des traces, des m\u00e9moires, des pr\u00e9sences manquantes.<\/p>\n\n\n\n Le corridor appara\u00eet comme un espace \u00e9troit, un lieu de transition o\u00f9 l\u2019on ne traverse pas indemne.<\/p>\n\n\n\n Ce cin\u00e9scriptographe ne raconte pas l\u2019embuscade. Ce cin\u00e9scriptographe n\u2019a pas \u00e9t\u00e9 \u00e9crit dans une intention de commentaire politique ou militaire. Il observe comment des phrases, produites \u00e0 des moments diff\u00e9rents, sans plan pr\u00e9alable, peuvent parfois entrer en r\u00e9sonance avec le r\u00e9el lorsque celui-ci se reconfigure brutalement.<\/p>\n\n\n\n \u2190 Revenir<\/a>\u2009\u00b7\u2009\u21ba Sommaire<\/a>\u2009\u00b7\u2009\u2192 Continuer<\/a><\/p>\n\n\n\n Fragments written and disseminated at distinct moments, in different public radio spaces on France Inter, between July and August 2008:<\/p>\n\n\n\n July 14, 2008 \u2014 following a televised military parade (Le T\u00e9l\u00e9phone sonne program<\/em>)<\/strong><\/p>\n\n\n\n \u2014\u201cExterior day. Sun with a few clouds. The paratroopers land.\u201d<\/p>\n\n\n\n \u2014\u201cOn a tightly bound carpet. In memory of the children killed by France.\u201d<\/p>\n<\/blockquote>\n\n\n\n These phrases deliberately borrow the language of cinema (stage directions, setting indications, mise en sc\u00e8ne). August 18\u201319, 2008 \u2014 radio exchange (Parking d\u2019\u00c9t\u00e9<\/em> program)<\/strong><\/p>\n\n\n\n \u2014\u201cHello?\u201d<\/p>\n<\/blockquote>\n\n\n\n A minimal formula, addressed as a request for access, a call, an attempt to enter an authorized space.<\/p>\n\n\n\n August 19, 2008 \u2014 handwritten note, later transmitted (Parking d\u2019\u00c9t\u00e9 program<\/em>)<\/strong><\/p>\n\n\n\n \u2014\u201cAnd we re-enter souls through the corridor.\u201d<\/p>\n<\/blockquote>\n\n\n\n A phrase first written on paper, where the orthographic shift (re-enter \/ souls) introduces a hesitation of meaning: to enter \/ to return \/ to deposit a part of oneself.<\/p>\n\n\n\n On August 18, 2008, a unit of French soldiers is caught in an ambush in the Uzbeen Valley, Afghanistan. Ten soldiers are killed during violent clashes that continue until the following day. The information becomes public between August 19 and 20, 2008. Read after the events, these fragments appear as the dispersed elements of a single structure of entry and passage:<\/p>\n\n\n\n The phrase \u201cOn a tightly bound carpet. In memory of the children killed by France\u201d<\/em> The phrase \u201cwe re-enter souls through the corridor\u201d <\/em>then takes on a particular value. The we<\/em> no longer designates an individual subject, but an indeterminate collective. The corridor appears as a narrow space, a transitional place that one does not cross unscathed.<\/p>\n\n\n\n This cinescriptograph does not recount the ambush. This cinescriptograph was not written with the intention of political or military commentary. \u2190 Back<\/a> \u00b7 \u21ba Contents<\/a> \u00b7 \u2192 Continue<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Cin\u00e9scriptographe \u2014 embuscade Aper\u00e7us cin\u00e9scriptographiques (phrases-sources) Fragments \u00e9crits et diffus\u00e9s \u00e0 des moments distincts, dans diff\u00e9rents espaces publics radiophoniques de France Inter, entre juillet et ao\u00fbt 2008 : 14 juillet 2008 \u2014 apr\u00e8s un d\u00e9fil\u00e9 militaire t\u00e9l\u00e9vis\u00e9 (\u00e9mission Le T\u00e9l\u00e9phone sonne) \u2014 \u00ab Ext\u00e9rieur jour. Soleil avec quelques nuages. Les parachutistes atterrissent. \u00bb \u2014 \u00ab…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-282","page","type-page","status-publish","hentry"],"yoast_head":"\n\n
Pour la premi\u00e8re fois, des parachutistes atterrissent place de la Concorde lors du d\u00e9fil\u00e9 du 14 juillet.<\/p>\n\n\n\n\n
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\u00c9v\u00e8nement ult\u00e9rieur (m\u00e9moire r\u00e9v\u00e9latrice)<\/h4>\n\n\n\n
Des difficult\u00e9s de transmission sont rapport\u00e9es au cours de l\u2019op\u00e9ration.<\/p>\n\n\n\n
Des fun\u00e9railles nationales ont lieu le 21 ao\u00fbt 2008 aux Invalides.<\/p>\n\n\n\nLecture cin\u00e9scriptographique (a posteriori)<\/strong><\/h4>\n\n\n\n
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Elle d\u00e9signe moins un d\u00e9placement qu\u2019un engagement irr\u00e9versible dans un espace contraint, dont la violence ne se r\u00e9v\u00e8le qu\u2019une fois franchi.<\/p>\n\n\n\n
Rentrer<\/em> implique un retour apr\u00e8s un d\u00e9part.
\u00c2mes<\/em> d\u00e9signe ce qui subsiste lorsque les corps sont absents.<\/p>\n\n\n\n
Il en propose une pr\u00e9-figuration spatiale, symbolique et m\u00e9morielle, devenue lisible seulement apr\u00e8s coup.<\/p>\n\n\n\nNote<\/h5>\n\n\n\n
Il ne pr\u00e9dit pas l\u2019\u00e9v\u00e9nement et n\u2019en explique ni les causes ni les responsabilit\u00e9s.<\/p>\n\n\n\n
\n\n\n\nCinescriptograph \u2014 Ambush<\/strong><\/h3>\n\n\n\n
Cinescriptographic glimpses (source phrases)<\/strong><\/h4>\n\n\n\n
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For the first time, parachutists landed at Place de la Concorde during the July 14th parade.<\/p>\n\n\n\n\n
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Subsequent event (revealing memory)<\/strong><\/h4>\n\n\n\n
Communication difficulties were reported during the operation.<\/p>\n\n\n\n
National funerals take place on August 21, 2008, at Les Invalides.<\/p>\n\n\n\nCinescriptographic reading (a posteriori)<\/strong><\/h4>\n\n\n\n
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immediately introduces a dimension of mourning and collective responsibility.
It does not designate a specific event, but establishes a background of historical and political violence, like a symbolic ground upon which what follows will be inscribed.<\/p>\n\n\n\n
It signifies less a movement than an irreversible commitment into a constrained space, whose violence is revealed only once crossed.<\/p>\n\n\n\n
To re-enter implies a return after departure.
Souls<\/em> designates what remains when bodies are absent.
The phrase thus seems to condense, without explicitly formulating it, the idea of a passage without return \u2014 not that of bodies, but of traces, memories, and missing presences.<\/p>\n\n\n\n
It proposes a spatial, symbolic, and memorial pre-figuration of it, becoming legible only after the fact.<\/p>\n\n\n\nNote<\/strong><\/h5>\n\n\n\n
It does not predict the event and does not explain its causes or responsibilities.
It observes how phrases, produced at different moments, without a prior plan, may sometimes resonate with reality when that reality reconfigures itself abruptly.<\/p>\n\n\n\n