{"id":427,"date":"2026-01-10T00:43:25","date_gmt":"2026-01-09T23:43:25","guid":{"rendered":"https:\/\/filmparimage.com\/?page_id=427"},"modified":"2026-02-13T13:56:22","modified_gmt":"2026-02-13T12:56:22","slug":"cinescriptographe-de-taser","status":"publish","type":"page","link":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-taser\/","title":{"rendered":"Cin\u00e9scriptographe de Taser"},"content":{"rendered":"\n

Cin\u00e9scriptographe \u2014<\/strong> Taser<\/h2>\n\n\n\n

Aper\u00e7us cin\u00e9scriptographiques (phrases-sources)<\/h4>\n\n\n\n

Printemps\u2013automne 2008<\/em><\/p>\n\n\n\n

Dialogue \u00e9crit lors d\u2019un \u00e9change instantan\u00e9 en ligne :<\/p>\n\n\n\n

\n

\u2014 \u00ab Tu pr\u00e9f\u00e8res que je te laisse ? \u00bb
\u2014 \u00ab Non, je ne suis pas un chien. \u00bb
\u2014 \u00ab Je ne comprends pas ce que tu dis ?? \u00bb<\/p>\n\n\n\n

Un temps.
Elle raccrocha.<\/p>\n<\/blockquote>\n\n\n\n

Fragments envoy\u00e9s par voie \u00e9lectronique \u00e0 l\u2019\u00e9mission Parking de Nuit<\/em>, le 11 octobre 2008 :<\/p>\n\n\n\n

\n

Nous revenons des ab\u00eemes et tr\u00e9fonds,
\u00e0 mi-lune de l\u00e0,
de la lave,
\u00e9ruption.<\/p>\n<\/blockquote>\n\n\n\n

\n

Electricit\u00e9, machineries,
machinations, manipulations
ne pourront, de la main des hommes,
l\u2019en substituer, ni l\u2019en subordonner,
\u00e0 la vie telle qu\u2019elle est.<\/p>\n<\/blockquote>\n\n\n\n

\n

Nous ne sommes qu\u2019en suspension du garage.
Rien ne nous appartient.
Tout est dans tout.
Tout l\u2019anime !<\/p>\n<\/blockquote>\n\n\n\n

\u00c9v\u00e8nement ult\u00e9rieur (m\u00e9moire r\u00e9v\u00e9latrice)<\/h4>\n\n\n\n

Le 24 novembre 2008, la soci\u00e9t\u00e9 Taser International, fabricante de pistolets \u00e0 d\u00e9charge \u00e9lectrique, est d\u00e9bout\u00e9e par la justice fran\u00e7aise \u00e0 la suite de plaintes pour diffamation concernant l\u2019usage de ces armes dites \u00ab non l\u00e9tales \u00bb, mises en cause pour leurs effets physiologiques et leurs usages coercitifs.<\/p>\n\n\n\n

Lecture cin\u00e9scriptographique (a posteriori)<\/h4>\n\n\n\n

Relus apr\u00e8s coup, ces aper\u00e7us s\u2019organisent autour d\u2019un m\u00eame r\u00e9gime de la d\u00e9charge et de la coupure.<\/p>\n\n\n\n

Le dialogue initial est bref, tendu, asym\u00e9trique, sans r\u00e9solution. La parole n\u2019y ouvre pas un \u00e9change : elle se heurte, puis se rompt. La coupure n\u2019est pas discut\u00e9e : elle est ex\u00e9cut\u00e9e. Le raccrochage agit comme une impulsion nette, sans retour.<\/p>\n\n\n\n

Les fragments po\u00e9tiques qui suivent d\u00e9placent cette rupture vers un autre plan. Il n\u2019est plus question de relation, mais de forces : \u00e9lectricit\u00e9, machines, manipulations, suspension. Le vocabulaire bascule du vivant vers le technique. Ce qui reliait devient ce qui neutralise. La parole n\u2019est plus circulation, mais une charge.<\/p>\n\n\n\n

La phrase finale \u2014 nous ne sommes qu\u2019en suspension<\/em> \u2014 installe un \u00e9tat interm\u00e9diaire : ni chute, ni stabilit\u00e9, ni mort, ni mouvement. Un corps, une relation, maintenus hors sol, immobilis\u00e9s par un dispositif.<\/p>\n\n\n\n

Ici, l\u2019\u00e9lectricit\u00e9 n\u2019est pas une m\u00e9taphore. Elle est un mode d\u2019arr\u00eat : interrompre sans tuer, neutraliser sans dialogue, maintenir le vivant en \u00e9tat de contrainte.<\/p>\n\n\n\n

La m\u00e9moire r\u00e9v\u00e9latrice vient donner \u00e0 cette configuration une r\u00e9sonance pr\u00e9cise. Le Taser, arme de d\u00e9charge \u00e9lectrique, agit dans ce m\u00eame r\u00e9gime : coupure brutale, neutralisation momentan\u00e9e, contr\u00f4le sans dialogue.<\/p>\n\n\n\n

Ce cin\u00e9scriptographe ne raconte pas une affaire singuli\u00e8re. Il enregistre une forme contemporaine de la coupure : celle qui passe par la machine, l\u2019\u00e9lectricit\u00e9, par la suspension du corps ou de la voix.<\/p>\n\n\n\n

Note<\/h5>\n\n\n\n

Ce cin\u00e9scriptographe n\u2019\u00e9tablit aucune causalit\u00e9 entre les phrases envoy\u00e9es et la d\u00e9cision judiciaire du 24 novembre 2008.
Il observe comment une sc\u00e8ne minimale de rupture, des fragments d\u2019\u00e9criture sous tension et un \u00e9v\u00e9nement public peuvent, apr\u00e8s coup, entrer en r\u00e9sonance autour d\u2019un m\u00eame principe : la d\u00e9charge comme mode de relation et de neutralisation.<\/p>\n\n\n\n

Il ne propose ni t\u00e9moignage intime, ni accusation, ni lecture juridique.
Il enregistre une configuration sensible o\u00f9 la coupure \u2014 affective, technique, politique \u2014 devient une forme agissante du r\u00e9el.<\/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

\n\n\n\n

Cinescriptograph \u2014 Taser<\/strong><\/h2>\n\n\n\n

Cinescriptographic glimpses (source phrases)<\/strong><\/h4>\n\n\n\n

Spring\u2013Autumn 2008<\/em><\/p>\n\n\n\n

Written dialogue during an online instant exchange:<\/p>\n\n\n\n

\n

\u2014 \u201cDo you want me to leave you?\u201d
\u2014 \u201cNo, I\u2019m not a dog.\u201d
\u2014 \u201cI don\u2019t understand what you\u2019re saying??\u201d
A pause.
She hung up.<\/p>\n<\/blockquote>\n\n\n\n

Fragments sent electronically to the program Parking de Nuit<\/em>, October 11, 2008:<\/p>\n\n\n\n

\n

We return from the abyss and the depths,
half a moon away,
from lava,
eruption.<\/p>\n<\/blockquote>\n\n\n\n

\n

Electricity, machinery,
machinations, manipulations
will not be able, by the hand of men,
to substitute it, nor to subordinate it,
to life as it is.<\/p>\n<\/blockquote>\n\n\n\n

\n

We are only in suspension from the garage.
Nothing belongs to us.
Everything is in everything.
Everything animates it.<\/p>\n<\/blockquote>\n\n\n\n

Subsequent event (revealing memory)<\/strong><\/h4>\n\n\n\n

On November 24, 2008, the company Taser International, manufacturer of electrical discharge weapons, is dismissed by the French courts following defamation complaints concerning the use of these so-called \u201cnon-lethal\u201d weapons, questioned for their physiological effects and coercive uses.<\/p>\n\n\n\n

Cinescriptographic reading (a posteriori)<\/strong><\/h4>\n\n\n\n

Read after the fact, these glimpses organize themselves around a shared regime of discharge and cut.<\/p>\n\n\n\n

The initial dialogue is brief, tense, asymmetrical, without resolution. Speech does not open an exchange: it collides, then breaks. The cut is not negotiated; it is executed. The hanging up acts as a sharp impulse, with no return.<\/p>\n\n\n\n

The poetic fragments that follow shift this rupture onto another plane. It is no longer a matter of relationship, but of forces: electricity, machinery, manipulation, suspension. The vocabulary moves from the living to the technical. What once connected becomes what neutralizes. Speech is no longer circulation, but a charge.<\/p>\n\n\n\n

The final sentence \u2014 we are only in suspension<\/em> \u2014 establishes an intermediate state: neither fall nor stability, neither death nor movement. A body, a relation, held above ground, immobilized by a device.<\/p>\n\n\n\n

Here, electricity is not a metaphor. It is a mode of stoppage: to interrupt without killing, to neutralize without dialogue, to keep the living under constraint.<\/p>\n\n\n\n

The revealing memory gives this configuration a precise resonance. The Taser, an electrical discharge weapon, operates within this same regime: abrupt cut, momentary neutralization, control without speech.<\/p>\n\n\n\n

This cinescriptograph does not recount a singular affair.
It records a contemporary form of the cut: one that passes through the machine, through electricity, through the suspension of the body or the voice.<\/p>\n\n\n\n

Note<\/strong><\/h5>\n\n\n\n

This cinescriptograph establishes no causal link between the phrases sent and the judicial decision of November 24, 2008.
It observes how a minimal scene of rupture, fragments of writing under tension, and a public event can, after the fact, enter into resonance around a single principle: discharge as a mode of relation and neutralization.
It proposes neither intimate testimony, nor accusation, nor legal interpretation.
It records a sensitive configuration in which rupture \u2014 affective, technical, political \u2014 becomes an active form of the real.<\/p>\n\n\n\n

\u2190 Back<\/a> \u00b7 \u21ba Contents<\/a> \u00b7 \u2192 Continue<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Cin\u00e9scriptographe \u2014 Taser Aper\u00e7us cin\u00e9scriptographiques (phrases-sources) Printemps\u2013automne 2008 Dialogue \u00e9crit lors d\u2019un \u00e9change instantan\u00e9 en ligne : \u2014 \u00ab Tu pr\u00e9f\u00e8res que je te laisse ? \u00bb\u2014 \u00ab Non, je ne suis pas un chien. \u00bb\u2014 \u00ab Je ne comprends pas ce que tu dis ?? \u00bb Un temps.Elle raccrocha. Fragments envoy\u00e9s par voie \u00e9lectronique…<\/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-427","page","type-page","status-publish","hentry"],"yoast_head":"\nCin\u00e9scriptographe de Taser - Film par Image<\/title>\n<meta name=\"description\" content=\"Cin\u00e9scriptographe Taser : inscription d\u2019un objet m\u00e9diatique et politique dans un dispositif d\u2019attention et de r\u00e9sonance \u00e9v\u00e9nementielle.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-taser\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cin\u00e9scriptographe de Taser - 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