{"id":704,"date":"2026-01-28T13:32:58","date_gmt":"2026-01-28T12:32:58","guid":{"rendered":"https:\/\/filmparimage.com\/?page_id=704"},"modified":"2026-02-13T15:18:40","modified_gmt":"2026-02-13T14:18:40","slug":"cinescriptographe-du-seisme-de-laquila","status":"publish","type":"page","link":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-seisme-de-laquila\/","title":{"rendered":"Cin\u00e9scriptographe du s\u00e9isme de l\u2019Aquila"},"content":{"rendered":"\n

Cin\u00e9scriptographe \u2014 S\u00e9isme de l\u2019Aquila<\/strong><\/h2>\n\n\n\n

(et du d\u00e9c\u00e8s de Maurice Jarre)<\/em><\/p>\n\n\n\n

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

\u2014 \u00ab Un cheval dans une soucoupe volante. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Envoi \u00e9lectronique adress\u00e9 \u00e0 l\u2019\u00e9mission Sous les \u00e9toiles exactement<\/em>, premier semestre 2008.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Calligramme d\u2019escargot :<\/p>\n\n\n\n

\n

[ http:\/\/www.@8mmm\/~\u00b0\"\u00b0) hww@8nnn\/~\u00b0\u2019\u00b0) h@8\/~\u00b0\u00b0) ]<\/code><\/p>\n<\/blockquote>\n\n\n\n

Envoi \u00e9lectronique adress\u00e9 \u00e0 l\u2019\u00e9mission Ascenseur pour le Jazz<\/em>, \u00e9t\u00e9 2008, ao\u00fbt.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Fragment po\u00e9tique narratif :<\/p>\n\n\n\n

\n

\u2014 \u00ab Quand s\u2019en vint \u00e0 l\u2019heure du Clacbitou sur les routes de la laine pr\u00e8s des longs champs, du banquet nous per\u00e7\u00fbmes une jeune femme en ballerine jaune, perdue, pivotant sur son propre axe au carrefour, inqui\u00e8te : \u00ab God ?\u2026 Gooood ??.. Godasses ? \u00bb
S\u2019en revenu un labrador blanc suivi de deux licornes : \u00e9cuy\u00e8re toque en place.
De sa yourte au boulot l\u2019effilant dare-dare, de sa yourte au caf\u00e9 avec ar\u00f4me. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Envoi \u00e9lectronique adress\u00e9 \u00e0 l\u2019\u00e9mission Parking de Nuit<\/em>, d\u00e9but du second semestre 2008, ao\u00fbt\u2013septembre.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

pr\u00e9-amplification spatiale :<\/strong><\/p>\n\n\n\n

\u2014 Rencontre \u00e0 Paris, place d\u2019Italie, en septembre 2008 :
Au cours de l\u2019\u00e9change, un cercle divis\u00e9 en sept parts est \u00e9voqu\u00e9, puis laiss\u00e9 en suspens.
Un sac est confi\u00e9 pour surveillance, et l\u2019absence se prolonge.
Dans l\u2019attente, face \u00e0 l\u2019inconnu, un geste s\u2019impose : la d\u00e9signation du centre de la place comme point de repli possible en cas d\u2019explosion.
Le centre comme lieu de protection.
L\u2019Italie comme rep\u00e8re.
Un espace circulaire, d\u00e9coup\u00e9, sous tension, mais organis\u00e9 autour d\u2019un point central.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Note d\u00e9pos\u00e9e \u00e0 l\u2019accueil de France Inter :<\/p>\n\n\n\n

\n

\u2014 \u00ab Vous avez une toile d\u2019araign\u00e9e \u00e0 l\u2019accueil. Tangentes Delta. Je passais dans les parages, avec mon bonnet. C\u2019\u00e9tait C\u00e9lestin \u00e0 l\u2019accueil. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Texte manuscrit sur papier pli\u00e9 en quatre, laiss\u00e9 \u00e0 l\u2019accueil, d\u00e9cembre 2008.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Phrase t\u00e9l\u00e9phonique :<\/p>\n\n\n\n

\n

\u2014 \u00ab On pourrait travailler main dans la main si vous le permet___tiez. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Appel t\u00e9l\u00e9phonique \u00e0 l\u2019\u00e9mission Parking de Nuit<\/em>, d\u00e9but janvier 2009.<\/p>\n\n\n\n

\u2014 Fragment scientifique cit\u00e9 :<\/p>\n\n\n\n

\n

Au sujet de la permittivit\u00e9 du vide, description d\u2019un dispositif \u00e9l\u00e9mentaire d\u2019accumulation et de d\u00e9charge : un condensateur primitif \u2014 une bouteille de verre, de l\u2019eau puis du clinquant, une tige m\u00e9tallique, un contact, une d\u00e9charge.<\/p>\n\n\n\n

L\u2019exp\u00e9rience de l\u2019abb\u00e9 Nollet est \u00e9voqu\u00e9e : \u00e0 Versailles, trois cents gardes du roi, dispos\u00e9s en cha\u00eene, re\u00e7oivent simultan\u00e9ment la commotion. Un choc collectif, instantan\u00e9, transmis de main en main.<\/p>\n<\/blockquote>\n\n\n\n

Texte cit\u00e9 et lu dans un contexte d\u2019\u00e9change, d\u00e9but 2009.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Message textuel :<\/p>\n\n\n\n

\n

\u2014 \u00ab Belle blonde casqu\u00e9e. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Message envoy\u00e9 via module de communication instantan\u00e9e, 28 mars 2009, vers 21h\u201321h30.<\/p>\n\n\n\n

\u2014 Image associ\u00e9e :<\/p>\n\n\n\n

Le Petit Cheval Bleu<\/em> \u2014 Franz Marc<\/p>\n\n\n\n

Image utilis\u00e9e comme vignette associ\u00e9e au message pr\u00e9c\u00e9dent, 28 mars 2009.<\/p>\n\n\n\n

Intensifications :<\/strong><\/p>\n\n\n\n

\u2014 La r\u00e9daction radiophonique de France Inter annonce \u00e0 22h le 28 mars 2009 la mort de Maurice Jarre \u00e0 Los Angeles.
L\u2019annonce est faite par sa musique : celle de Lawrence d\u2019Arabie<\/em>.<\/p>\n\n\n\n

\u2014 Le vendredi soir 3 avril 2009, dans l\u2019\u00e9mission Parking de Nuit<\/em>, une s\u00e9quence radiophonique est consacr\u00e9e au fromage de ch\u00e8vre Saint-Marcellin. La th\u00e9matique du r\u00e9veil et de l\u2019heure, pour ne pas \u00eatre en retard, y est explicitement formul\u00e9e \u00e0 l\u2019antenne :<\/p>\n\n\n\n

\n

\u2014 \u00ab Quand vous allez vous r\u00e9veiller lundi, il sera 7 heures. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Message textuel \u00e9chang\u00e9 via un module de communication instantan\u00e9e le 5 avril 2009 dans l\u2019apr\u00e8s-midi :<\/p>\n\n\n\n

\n

\u2014 \u00ab T\u2019as pas du caf\u00e9 ?
(sans r\u00e9ponse)
Bon, je vais tracer du bitume. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

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

Le 6 avril 2009, jour de la Saint-Marcellin et de la Saint-C\u00e9lestin, 96\u00e8me jour de l\u2019ann\u00e9e, vers 4 heures du matin, un s\u00e9isme de magnitude 6,3 frappe L\u2019Aquila, au centre de l\u2019Italie, \u00e0 environ 120 kilom\u00e8tres de Rome.
La ville se d\u00e9place de 15 centim\u00e8tres en 22 secondes.

Le bilan initial fait \u00e9tat de 300 morts, mais une personne sera retrouv\u00e9e vivante sous les d\u00e9combres.<\/p>\n\n\n\n

L\u2019Aquila, au climat froid et sec, tient son nom du latin aquila<\/em> (l\u2019aigle) et aqua<\/em> (l\u2019eau).
La ville est connue pour le regroupement symbolique de 99 provinces, repr\u00e9sent\u00e9es par la Fontaine des 99 (Fontana delle Cannelle<\/em>).
Pietro di Morrone, devenu le pape C\u00e9lestin V, y fut intronis\u00e9 le 29 ao\u00fbt 1294, \u00e0 la basilique de Santa Maria di Collemaggio, partiellement d\u00e9truite lors du s\u00e9isme.<\/p>\n\n\n\n

Source documentaire<\/strong><\/h5>\n\n\n\n

La description de la bouteille de Leyde et de l\u2019exp\u00e9rience de l\u2019abb\u00e9 Nollet est issue d\u2019une exposition p\u00e9dagogique (lyc\u00e9e Victor-Hugo de Poitiers), reprise ult\u00e9rieurement dans des publications acad\u00e9miques, notamment :
HAL-SHS, Histoire et usages de la bouteille de Leyde<\/em>, halshs-03051485v1 (https:\/\/shs.hal.science\/halshs-03051485v1\/document)<\/p>\n\n\n\n

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

Relus apr\u00e8s coup, ces aper\u00e7us dessinent une cin\u00e9scriptographie du d\u00e9placement lent, du choc diff\u00e9r\u00e9 et du centre invisible.<\/p>\n\n\n\n

Tout commence par des figures de mouvement impossible ou paradoxal : un cheval dans une soucoupe volante, un escargot calligraphi\u00e9, contract\u00e9, \u00e9tir\u00e9, spiral\u00e9. Le mouvement est l\u00e0, mais \u00e0 une vitesse inhumaine : trop lent pour \u00eatre per\u00e7u comme action, trop continu pour \u00eatre arr\u00eat\u00e9.<\/p>\n\n\n\n

Le fragment po\u00e9tique installe un monde d\u00e9sax\u00e9 : une femme pivotant sur son propre axe, un carrefour, un appel confus \u00e0 Dieu, \u00e0 la chaussure, au sol. Les rep\u00e8res vacillent : le divin, le langage, l\u2019orientation. Le labrador blanc \u2014 figure du guidage \u2014 appara\u00eet, suivi de licornes : chevaux impossibles, symboles de passage et de seuil. Le d\u00e9placement se fait entre abri (yourte), travail et caf\u00e9 : de l\u2019eau, de l\u2019ar\u00f4me, du quotidien.<\/p>\n\n\n\n

La pr\u00e9-amplification spatiale condense soudain cette errance en g\u00e9om\u00e9trie pure. \u00c0 la place d\u2019Italie, un cercle d\u00e9coup\u00e9 en sept parts est pos\u00e9. Un sac est confi\u00e9. L\u2019absence dure. Face \u00e0 la menace ind\u00e9termin\u00e9e, un geste pr\u00e9cis surgit : d\u00e9signer le centre. Non pas la fuite, mais le point m\u00e9dian. Le centre comme lieu de r\u00e9sistance \u00e0 l\u2019effondrement. L\u2019Italie n\u2019est plus un pays, mais un sch\u00e9ma spatial.<\/p>\n\n\n\n

Les signes se multiplient ensuite sans se r\u00e9pondre encore : toile d\u2019araign\u00e9e (r\u00e9seau), papier pli\u00e9 en quatre \u2014 non comme figure du rire, mais comme surface quadrill\u00e9e du temps, C\u00e9lestin (nom propre, seuil historique), une phrase suspendue \u2014 permet___tiez<\/em> \u2014 o\u00f9 le vide devient actif.<\/p>\n\n\n\n

Le fragment scientifique introduit alors une loi du monde : l\u2019\u00e9nergie se stocke, le vide permet la propagation, le choc circule instantan\u00e9ment. Trois cents corps re\u00e7oivent la d\u00e9charge. Un seul mouvement. Une transmission sans parole.<\/p>\n\n\n\n

\u00c0 la fin mars, les figures convergent : le cheval devient bleu, le casque ail\u00e9 appara\u00eet, l\u2019aigle affleure.
La mort de Maurice Jarre est annonc\u00e9e par la musique, non par les mots. Le son pr\u00e9c\u00e8de l\u2019information.<\/p>\n\n\n\n

Enfin, l\u2019heure. Non comme injonction \u00e0 se lever, mais comme inscription diff\u00e9r\u00e9e. Une heure dite \u00e0 l\u2019antenne, pendant qu\u2019une autre est d\u00e9j\u00e0 pli\u00e9e ailleurs.<\/p>\n\n\n\n

Le caf\u00e9 \u2014 d\u00e9j\u00e0 pr\u00e9sent dans les aper\u00e7us \u2014 revient comme bord : eau, ar\u00f4me, bout de cha\u00eene. Et le bitume, non comme trajectoire, mais comme surface appel\u00e9e \u00e0 se fendre.<\/p>\n\n\n\n

Le 6 avril 2009, la Terre fait exactement ce que les aper\u00e7us annon\u00e7aient sans le savoir : elle se d\u00e9place lentement, 15 centim\u00e8tres en 22 secondes, comme un escargot. Un centre c\u00e8de. Trois cents morts \u2014 moins un. Un choc collectif, r\u00e9el, non m\u00e9taphorique.<\/p>\n\n\n\n

Ce cin\u00e9scriptographe ne pr\u00e9dit rien. Il montre comment des formes faibles, des images modestes, des gestes quotidiens, peuvent entrer en r\u00e9sonance avec un \u00e9v\u00e9nement massif, lorsque le monde lui-m\u00eame se met \u00e0 bouger.<\/p>\n\n\n\n

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

Ce cin\u00e9scriptographe ne se r\u00e9jouit ni de la mort de Maurice Jarre ni du s\u00e9isme de l\u2019Aquila.
Il ne tire aucune jouissance de la catastrophe, ni de la disparition d\u2019un homme ou d\u2019une ville.<\/p>\n\n\n\n

La mort de Maurice Jarre appara\u00eet ici comme une intensification sonore et symbolique, non comme un accomplissement.
Le s\u00e9isme de l\u2019Aquila constitue la seule m\u00e9moire r\u00e9v\u00e9latrice : un fait brut, tragique, irr\u00e9ductible.<\/p>\n\n\n\n

Le travail cin\u00e9scriptographique ne cherche ni \u00e0 expliquer les \u00e9v\u00e9nements, ni \u00e0 les surplomber.
Il observe comment, apr\u00e8s coup, des fragments h\u00e9t\u00e9rog\u00e8nes \u2014 images, mots, gestes, savoirs scientifiques \u2014 peuvent entrer en r\u00e9sonance formelle, sans causalit\u00e9 ni intention.<\/p>\n\n\n\n

Il s\u2019agit d\u2019un travail d\u2019aperception : regarder comment le monde, parfois, se met \u00e0 r\u00e9pondre \u2014 non pas \u00e0 ce que l\u2019on croit dire, mais \u00e0 ce qui \u00e9tait d\u00e9j\u00e0 en train de se d\u00e9placer.<\/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 L\u2019Aquila Earthquake<\/strong><\/h3>\n\n\n\n

(and of the death of Maurice Jarre)<\/em><\/p>\n\n\n\n

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

(first half of 2008 \u2013 March 2009)<\/em><\/p>\n\n\n\n

\n

\u2014 \u201c<\/em>A horse in a flying saucer.\u201d<\/em><\/p>\n<\/blockquote>\n\n\n\n

Electronic message sent to the radio program Sous les \u00e9toiles exactement<\/em>, first half of 2008.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Snail calligram :<\/p>\n\n\n\n

\n

[ http:\/\/www.@8mmm\/~\u00b0\"\u00b0) hww@8nnn\/~\u00b0\u2019\u00b0) h@8\/~\u00b0\u00b0) ]<\/code><\/p>\n<\/blockquote>\n\n\n\n

Electronic message sent to the radio program Ascenseur pour le Jazz<\/em>, summer 2008, August.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Narrative poetic fragment :<\/p>\n\n\n\n

\n

\u2014 \u201cWhen it came at the hour of Clacbitou along the wool roads near the long fields, from the banquet we perceived a young woman in yellow ballet flats, lost, pivoting on her own axis at the crossroads, anxious: \u201cGod?\u2026 Gooood??.. Shoes?\u201d A white Labrador returned, followed by two unicorns: rider, cap firmly in place. From her yurt to work, rushing headlong, from her yurt to the caf\u00e9, with aroma.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Electronic message sent to the radio program Parking de Nuit<\/em>, early second half of 2008, August\u2013September.<\/p>\n\n\n\n

\u00b7<\/strong><\/p>\n\n\n\n

Spatial Pre-Amplification :<\/strong><\/p>\n\n\n\n

\u2014 Meeting in Paris, Place d\u2019Italie, September 2008 :<\/p>\n\n\n\n

During the exchange, a circle divided into seven parts is mentioned, then left unresolved.
A bag is entrusted for safekeeping, and the absence stretches on.
In waiting, faced with the unknown, a gesture becomes necessary: the designation of the center of the square as a possible fallback point in case of explosion.
The center as a place of protection. Italy as a reference point. A circular space, segmented, under tension, yet organized around a central point.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Note left at the reception desk of France Inter :<\/p>\n\n\n\n

\n

\u2014 \u201cThere is a spider\u2019s web at the reception desk. Delta tangents. I was passing through the area, wearing my cap. It was C\u00e9lestin at the desk.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Handwritten text on paper folded in four, left at the reception desk, December 2008.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Telephone phrase :<\/p>\n\n\n\n

\n

\u2014 \u201cWe could work hand in hand, if you would allow___it.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Phone call to the radio program Parking de Nuit<\/em>, early January 2009.<\/p>\n\n\n\n

\u2014 Scientific fragment quoted :<\/p>\n\n\n\n

\n

On the permittivity of the vacuum, description of an elementary device of accumulation and discharge: a primitive capacitor \u2014 a glass bottle, water then foil, a metal rod, a contact, a discharge.<\/p>\n\n\n\n

The experiment of Abb\u00e9 Nollet is evoked: at Versailles, three hundred guards of the king, arranged in a chain, receive the shock simultaneously. A collective, instantaneous impact, transmitted from hand to hand.<\/p>\n<\/blockquote>\n\n\n\n

Fragment quoted and read in the context of an exchange, early 2009.<\/p>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Text message :<\/p>\n\n\n\n

\n

\u2014 \u201cBeautiful blonde in a helmet.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Message sent via instant messaging module, March 28, 2009, around 9\u20139:30 p.m..<\/p>\n\n\n\n

\u2014 Associated image :<\/p>\n\n\n\n

The Little Blue Horse<\/em> \u2014 Franz Marc<\/p>\n\n\n\n

Image used as a thumbnail associated with the previous message, March 28, 2009.<\/p>\n\n\n\n

Intensifications :<\/strong><\/p>\n\n\n\n

\u2014 The radio newsroom on France Inter announces at 10 p.m. on March 28, 2009 the death of Maurice Jarre in Los Angeles.
The announcement is made through his music: Lawrence of Arabia<\/em>.<\/p>\n\n\n\n

\u2014 On Friday evening, April 3, 2009, in the radio program Parking de Nuit, a radio segment is devoted to the goat cheese Saint-Marcellin.
The theme of waking up and of time, of not being late, is explicitly formulated on air:<\/p>\n\n\n\n

\n

\u2014 \u201cWhen you wake up on Monday, it will be 7 o\u2019clock.\u201d<\/p>\n<\/blockquote>\n\n\n\n

\u00b7<\/p>\n\n\n\n

\u2014 Text message exchanged via instant messaging on April 5, 2009, in the afternoon:<\/p>\n\n\n\n

\n

\u2014 \u201cDon\u2019t you have any coffee?
(no response)
Fine, I\u2019m going to trace the asphalt.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Subsequent Event (Revelatory Memory)<\/strong><\/h4>\n\n\n\n

On April 6, 2009, the day of Saint-Marcellin and Saint-C\u00e9lestin, 96th day of the year, around 4 a.m., a magnitude 6.3 earthquake strikes L\u2019Aquila, in central Italy, approximately 120 kilometers from Rome.<\/p>\n\n\n\n

The city shifts by 15 centimeters in 22 seconds.<\/p>\n\n\n\n

The initial toll reports 300 deaths, but one person is found alive beneath the rubble.
L\u2019Aquila, with its cold and dry climate, takes its name from the Latin aquila<\/em> (eagle) and aqua<\/em> (water). The city is known for the symbolic grouping of 99 districts, represented by the Fountain of the 99 (Fontana delle Cannelle). Pietro di Morrone, who became Pope Celestine V, was enthroned there on August 29, 1294, at the Basilica of Santa Maria di Collemaggio, partially destroyed during the earthquake.<\/p>\n\n\n\n

Documentary source<\/strong><\/h5>\n\n\n\n

The description of the Leyden jar and of Abb\u00e9 Nollet\u2019s experiment comes from an educational exhibition (Lyc\u00e9e Victor-Hugo, Poitiers), later taken up in academic publications, notably: HAL-SHS, History and Uses of the Leyden Jar<\/em>, halshs-03051485v1
(https:\/\/shs.hal.science\/halshs-03051485v1\/document)<\/p>\n\n\n\n

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

Read after the fact, these glimpses outline a cinescriptography of slow displacement, delayed shock, and invisible center.<\/p>\n\n\n\n

It begins with figures of impossible or paradoxical movement: a horse in a flying saucer, a calligraphed snail, contracted, stretched, spiraled.<\/p>\n\n\n\n

Movement is present, but at an inhuman speed: too slow to be perceived as action, too continuous to be stopped.<\/p>\n\n\n\n

The poetic fragment installs a disoriented world: a woman pivoting on her own axis, a crossroads,
a confused appeal to God, to footwear, to the ground. Landmarks waver: the divine, language, orientation. The white Labrador \u2014 a figure of guidance \u2014 appears, followed by unicorns: impossible horses, symbols of passage and threshold. Movement unfolds between shelter (the yurt), work, and caf\u00e9: water, aroma, the everyday.<\/p>\n\n\n\n

Spatial pre-amplification suddenly condenses this wandering into pure geometry. At Place d\u2019Italie, a circle divided into seven parts is set. A bag is entrusted. The absence lasts. Faced with an indeterminate threat, a precise gesture emerges: to designate the center. Not flight, but the median point. The center as a place of resistance to collapse. Italy is no longer a country, but a spatial diagram.<\/p>\n\n\n\n

Signs then multiply without yet answering one another: a spider\u2019s web (network), paper folded in four \u2014 not as a figure of laughter, but as a surface gridded by time, C\u00e9lestin (proper name, historical threshold), a suspended phrase \u2014 permit___t<\/em> \u2014 where the void becomes active.<\/p>\n\n\n\n

The scientific fragment then introduces a law of the world: energy is stored, the vacuum enables propagation, the shock circulates instantaneously. Three hundred bodies receive the discharge. One single movement. A transmission without words.<\/p>\n\n\n\n

At the end of March, the figures converge: the horse turns blue, the winged helmet appears,
the eagle surfaces.<\/p>\n\n\n\n

The death of Maurice Jarre is announced through music, not through words. Sound precedes information.<\/p>\n\n\n\n

Finally, the hour. Not as an injunction to wake, but as a deferred inscription. An hour spoken on air, while another has already been folded elsewhere.<\/p>\n\n\n\n

Coffee \u2014 already present in the earlier glimpses \u2014 returns as an edge: water, aroma, end of the chain. And asphalt, not as trajectory, but as a surface called to crack.<\/p>\n\n\n\n

On April 6, 2009, the Earth does exactly what the glimpses had announced without knowing it: it moves slowly, 15 centimeters in 22 seconds, like a snail. A center gives way. Three hundred dead \u2014 minus one. A collective shock, real, non-metaphorical.<\/p>\n\n\n\n

This cinescriptograph predicts nothing. It shows how weak forms, modest images, everyday gestures can enter into resonance with a massive event, when the world itself begins to move.<\/p>\n\n\n\n

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

This cinescriptograph takes no pleasure in either the death of Maurice Jarre or the earthquake of L\u2019Aquila.
It draws no enjoyment from catastrophe, nor from the disappearance of a man or a city.
The death of Maurice Jarre appears here as a sonic and symbolic intensification, not as an accomplishment.
The L\u2019Aquila earthquake constitutes the sole revelatory memory: a raw, tragic, irreducible fact.<\/p>\n\n\n\n

Cinescriptographic work seeks neither to explain events nor to dominate them.
It observes how, after the fact, heterogeneous fragments \u2014 images, words, gestures, scientific knowledge \u2014 can enter into formal resonance, without causality or intention.<\/p>\n\n\n\n

It is a work of aperception: to watch how the world, sometimes, begins to respond \u2014 not to what one believes one is saying, but to what was already in the process of moving.<\/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 S\u00e9isme de l\u2019Aquila (et du d\u00e9c\u00e8s de Maurice Jarre) Aper\u00e7us cin\u00e9scriptographiques (phrases-sources) \u2014 \u00ab Un cheval dans une soucoupe volante. \u00bb Envoi \u00e9lectronique adress\u00e9 \u00e0 l\u2019\u00e9mission Sous les \u00e9toiles exactement, premier semestre 2008. \u00b7 \u2014 Calligramme d\u2019escargot : [ http:\/\/www.@8mmm\/~\u00b0\u00a0\u00bb\u00b0) hww@8nnn\/~\u00b0\u2019\u00b0) h@8\/~\u00b0\u00b0) ] Envoi \u00e9lectronique adress\u00e9 \u00e0 l\u2019\u00e9mission Ascenseur pour le Jazz, \u00e9t\u00e9 2008,…<\/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-704","page","type-page","status-publish","hentry"],"yoast_head":"\nCin\u00e9scriptographe du s\u00e9isme de l\u2019Aquila - 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