[Music]
bring out the comic strip
boards
it’s a challenge that I started
first unconsciously but
then in a way more and more
conscious
over the years a challenge that I have
not launched alone obviously I did that
with full colleagues and full friends
collaborators it is a challenge we have
conducted over fifty or so
small projects means and for
to bring out the comic strip
boards and basically it has
been putting her in relationship put them
in relation to a discipline on
scene with the tale with the theater with
improvisation with the circus with the
dance with science popularization
it was also to create dialogues to
through technologies across the
digital on for us your sisters does
take out the comic strip
in a performative framework that needs the
to say is no stranger in the middle of the
cartoon I do not know if you
frequent many events bd
but if that’s the case you know
as much as me
the drawing live it is omnipresent
in this type of event here here as
elsewhere there is something about
comic book lovers who does
that we really like is viscerally
see designers at work see the
ways by which someone is going
attack the boards attacked the page
and that’s only one event to another
well we put it right this is
capacity of the before and yesterday some
events some festivals in France
between hooker angoulême bordeaux it’s
hurt lions s aid to explode
ways in which the proposed
live death in quebec we were trying to
do a little like that too
in parallel what must be said is
that comics is also a
extremely experimental ground
stimulating the authors define the
rules
obviously this block media is in
full explosion for several
dozens of years and the authors explodes
the rules they themselves have
helped to build had major publishers
small publishers in quebec like
elsewhere which therefore gives land
experimentation to enable
authors having fun to have fun of
constantly reinventing comics
before going too far we see
lexicon because I speak for example of the
world dives since now ben clench
that’s the page in bd so we
their book the beach is the board on
the board you have a multitude of
little squares this the box so in the
checkboxes we’re going to do text drawing if
we need it and the goal is that
from one box to another we will tell a story
story in sequences so the nar
sequential the comic I shut up my
little parenthesis then we go back to
starting point
to bring out the comic of the boards
came from an unexpected phone call
from the director general of the festival québec
bedimo louis side they call me a
beautiful day he said raymond I would like
do it a tournament of impro com in the
next edition of the festival is what
it would try to ride with me I
said yes I breathed a few moments
after that I looked at him I asked
yes but what is the pro bd and
exhibits a I saw that in France in ball
showing designers we take
improvisers we take
musicians in limant without my improvise
fact that it took designers
learned from the musicians we learned from
improvisers we put them together and
it was with the Quebec league
of a pro b as soon as monday that bd obviously
we had to define our framework
so what we also said we’re going
put everyone on stage
so on one side the designers of
the other the musicians in the middle of
improvisers we thought we had
already technical elements for
allow the drawings to be put into
performance so the drawing tools in
direct then we placed a table we have
put a sheet on the table and at
above the sheet a camera so the
camera old capital drawing capture the
draftsman’s line and retransmits a
little like here today on the screen
behind us so what makes you
public could see the drawing is what
that improvisers can
interact with drawing then for us
life that comic has become a formidable
laboratory
we had fun and we developed
constraints we broke the constraints
that we gave a little like with the
medium
the designer was asked to take
the book if you allow me
anglicisms is proposed to help because
breaks have
ask the players to do the same
imposed imposed styles to impose
characters the musicians why not
to inspire us with comics from
inspire stories then the
liquid comics improvisation was a
extraordinary laboratory but come
also a little frustration with this
sadi laboratory in improvisation
it’s snapshot obviously I ‘m there
learn nothing, it’s faster
to think and say or do something
than to think and draw it
so there was always a stake in
speed is about solving this
we were thinking we would have
maybe need a lab that
would give us more to last then we do not
creates parenthesis 9 whose mandate was
precisely brings out the lives of
boards
I have more ideas then
with tarentaise of foundation nor of
multiple projects is in any case it’s
possible in 2015 when we are an issue that
is extremely interesting because
that usually if we collaborate
an author with a draftsman and ben them
two are aware of the existence of
the other so what makes the two
will leave room in the
Caucasus is possible and it’s a warrant
which we have been given to illustrate
texts by recognized authors of yann martel
margaret atwood russell banks dany
laferrière texts that have never
been thought for the drawing and that between
you and I do not really need the
drawing no longer to exist
so we had to find out how
illustrate these texts is what in a
context where we talk about madness we go
with a very chaotic axis drawing
are we trying to represent the
pressure that a character undergoes
crowd watching it is what we are
able to bring the viewer to
Haiti
in a text dany laferrière by the
colors by the decor
the best example of everything unless a
such 06 bein what we had to illustrate a
extract from american darling absolutely
superb where the narrator has just been
witnessed a failed coup d’etat he described
with verve all the horror she saw the
violence the war the cries the smoke the
guns the faces there were
literally nothing to draw or
almost it is the stage
vincent champoux who saw lightning and
who says it but what is missing is the
look at the one who observes it is the
look of the narrator
so we were paid track there
perceives the horror in his eyes and that
maybe we create a communion a
communication between hoped
the horror in the eyes of those who
were listening and watching our setting
drawn reading it took us a
great lesson this project there is the idea
to go beyond gadgets
if we draw if we integrate the drawing
just to integrate it because
that’s our mandate that’s our
goal is good we miss completely
we have to have a reason for
do it
a real tangible justification
concrete
parallel phil dowd project we have
developed have explored tools
encounter with the sky drawn on it
done for two three years and that’s me
seem extremely stimulating because
that at the level of drawing we still
a variety of tools we have fire
obviously we do not have the pastel the charcoal
watercolor we do not paper and
computing with the circus had
just as many tools the hula-hoop the
stick contact her acrobatics ecce
will bury the juggling then to put in
common his tools there and see how
they could coexist
it seemed pretty extraordinary
so we started doing it on
had fun for example with a diabolo
diabolo it’s like a kind of everything
stung on a rope that can be done
bounce and ben we have fun doing
the features and the diabolo in his
movement was to imitate the feature of
designer
we do not pray the cube which is a huge
box there loses heavy is really
fat made a metal cube and we
makes me a box of comics
three-dimensional we had fun with
our mime and we do not dice on
the screen it matter to bring a little bit of
concretely to this loeb decor and we do it
interact with these huge with these
elements we had fun creating
atmospheres and abstract decor where it’s
to focus on the emotional side
some numbers
we had fun creating relationships at
through this emotion there to make a
love story between characters on
paper and an acrobat who made
acrobatics alone one does not push a
little logic also question always
to bring concrete where we write my
creatures on the screen with which one
interacts it’s and on the picture well
our mime and some on skates to
castors
because the world ranks the monster the
whistle on one side with the water of the Seine
she had to follow the drawn breath
eventually we wanted to go
little further we said
to be pleasant that the movement of
circus artists can find themselves
on the screen that we can interact in this
gesture then the year 2000 and sensors of
different camera sensors
digital devices and we did
draw our circus artists to
the screen eventually we were small to
flick a little further and we
began to put what are called
sensors that are born from sensors
of depth so we do a kind of
3d modeling tells him mentaires
could say like that so we do not
the bodies on the screen we only give to the
designers
go on drawn there have fun in this
space
so you understand that for us it’s
an extremely stimulating project and
abandoned over the course of the explorations
asked why it was so challenging
what came out was
basically that both disciplines
that we had put in contact had decided
not to use herself but to
serve the other
the circus had been serving the
drawing drawing circus service there
had none of the two disciplines that
was the little hand of the other in
egalitarian relationships that allowed a
real communication would have the exchange
between the two disciplines
a real listening also and without
this listening there I do not believe that this
project has been as far as we’ve
managed to bring him to this day obviously
we come out sometimes of the performative
we will also go to the side of
the exhibition
our most recent in 2018 it was the
chronicles of montcalm so a
augmented reality exhibit that we have
done in public space on the avenue
cartier in quebec for that one we are
returned a little to our homework
we went back to the medium to the
reflection on the comics medium
in comics when we love started at
think about the medium usually one
go to scott mccloud who is an author
who also thought a lot about the structure
what is the rules and
how burst them into a little book
which is called we have band in comics y
bring a principle called she says
is born canvas
I explain we did not speak boards
sometimes the pleasure board is the page
in the book
so if I create a comic in a book I
want to make planks and he told himself
but if I create a comic elsewhere is this
that I still have boards the example
that he used was the web page in
a page but the rules the web page and
the rules of the book are not at all the
same
we then agree in the web page
could go to infinity up and down to
left to right and so what makes that
rather to be limited in a tiny
age and well we can go is not finished a
everywhere we want to create a story
will be essentially
cancellations and so in that context
well we adapted the spirit of the band
drawn to this new medium of the page
paper to the web page
so what we said through everything
that’s what you had to understand
the mind of the comic the senses what is that
this is the idea of telling in
sequences with drawing and text to
rice needs if a story and in
what is this reality has taken 30
there and put it in the context of the
augmented reality second small lexicon
to make augmented reality
we need a marker we our
parker we do not choose to take a board
must be visual marc caron
plain visual why misses
so the idea is that through this
visual there is an application in
computer science that will recognize the
elements and who will make emerge any
thing
so you have to have a
screen so a touch pad a
smart phone the screen your decor
of information and will generate
augmented reality so bring up
the invisible elements that were
hidden behind the illustration to no
to propose
then obviously in this context there it
had to wonder about our medium
we had to define the marker so we
is a space that is limited around
the page this is your playground
first constraint
second constraint the application if I
make an application that is too heavy
these people are going to want the
download so I put a maximum
information that I can enter I
can not go into too much detail
excessive
visual for example third element its
readers if you are me if I him
something with my phone
smart do not have that I have too much
texts because it’s good I you
learn nothing either so it was necessary
go get something that was
limited to the content level is what makes
that by knowing the constraints
of our new medium the reality
augmented we can not adapt the rules
of the cartoon adapted the spirit of
the cartoon in this new setting
then we went our way
to a cartoon character
family
we were in the public space with a
drawing that was simple black and white
which also recalls the aesthetics of comics
that creates a distance between reality
in which we propose the comic on
brick walls in streets in
urban space
we created stories that was very
daily very close to very people
close to where they are
when he discovers the comic is
obviously all that did not stop us
no longer having fun testing the
limits a bit of the framework we had
given to try to see until what
height
we could go up to what
distance we could get away from our
mark hours it’s a bit time
is made parentheses the factual so
five years of work thinking
collective and collaborative to try
to see how we can help you
counted from a multitude of other
people to pop the medium
what is the comic book Thursday one is
not only to do all this is at the limit
I think we can contribute to the sides
all these people there uninhibited a
practice ten years the
direct descendant he was confined to
bd events
here as elsewhere is more and more
authors and organizers
events programmers and
others are discovering the real potential of
this approach of these disciplines
less less and less embarrassed to
integrate it into the propose to incorporate it
to their activities
as much as for the authors we will see
also a growing awareness
sharpened that it’s something we
can do that we can propose and who
represent a real and tangible interest
and of course we are proud of the side
parenthesis notes of having been able to contribute to
this movement their here in quebec
also through the bd tax
also through the multitude
other activities that we proposed the
continuation for parenthesis 9
Well, it’s taking the three elements
determined over the years and
the multitude of others to know that
our destiny we must go beyond gadget
must be justified to understand that they
actually make the elements
in a spirit of communion and listening
mutual respect and mutual respect
practices that we want to put in contact
which must preserve the spirit of the band
drawn and adapt it to the new
context we propose it so we try
basic rules there and for us we will
wish obviously to continue to
explore and see how far we can
push and see if the seventh in the
duration and in more and more projects
more imposes
thank you
[Applause]
bring out the comic strip
boards
it’s a challenge that I started
first unconsciously but
then in a way more and more
conscious
over the years a challenge that I have
not launched alone obviously I did that
with full colleagues and full friends
collaborators it is a challenge we have
conducted over fifty or so
small projects means and for
to bring out the comic strip
boards and basically it has
been putting her in relationship put them
in relation to a discipline on
scene with the tale with the theater with
improvisation with the circus with the
dance with science popularization
it was also to create dialogues to
through technologies across the
digital on for us your sisters does
take out the comic strip
in a performative framework that needs the
to say is no stranger in the middle of the
cartoon I do not know if you
frequent many events bd
but if that’s the case you know
as much as me
the drawing live it is omnipresent
in this type of event here here as
elsewhere there is something about
comic book lovers who does
that we really like is viscerally
see designers at work see the
ways by which someone is going
attack the boards attacked the page
and that’s only one event to another
well we put it right this is
capacity of the before and yesterday some
events some festivals in France
between hooker angoulême bordeaux it’s
hurt lions s aid to explode
ways in which the proposed
live death in quebec we were trying to
do a little like that too
in parallel what must be said is
that comics is also a
extremely experimental ground
stimulating the authors define the
rules
obviously this block media is in
full explosion for several
dozens of years and the authors explodes
the rules they themselves have
helped to build had major publishers
small publishers in quebec like
elsewhere which therefore gives land
experimentation to enable
authors having fun to have fun of
constantly reinventing comics
before going too far we see
lexicon because I speak for example of the
world dives since now ben clench
that’s the page in bd so we
their book the beach is the board on
the board you have a multitude of
little squares this the box so in the
checkboxes we’re going to do text drawing if
we need it and the goal is that
from one box to another we will tell a story
story in sequences so the nar
sequential the comic I shut up my
little parenthesis then we go back to
starting point
to bring out the comic of the boards
came from an unexpected phone call
from the director general of the festival québec
bedimo louis side they call me a
beautiful day he said raymond I would like
do it a tournament of impro com in the
next edition of the festival is what
it would try to ride with me I
said yes I breathed a few moments
after that I looked at him I asked
yes but what is the pro bd and
exhibits a I saw that in France in ball
showing designers we take
improvisers we take
musicians in limant without my improvise
fact that it took designers
learned from the musicians we learned from
improvisers we put them together and
it was with the Quebec league
of a pro b as soon as monday that bd obviously
we had to define our framework
so what we also said we’re going
put everyone on stage
so on one side the designers of
the other the musicians in the middle of
improvisers we thought we had
already technical elements for
allow the drawings to be put into
performance so the drawing tools in
direct then we placed a table we have
put a sheet on the table and at
above the sheet a camera so the
camera old capital drawing capture the
draftsman’s line and retransmits a
little like here today on the screen
behind us so what makes you
public could see the drawing is what
that improvisers can
interact with drawing then for us
life that comic has become a formidable
laboratory
we had fun and we developed
constraints we broke the constraints
that we gave a little like with the
medium
the designer was asked to take
the book if you allow me
anglicisms is proposed to help because
breaks have
ask the players to do the same
imposed imposed styles to impose
characters the musicians why not
to inspire us with comics from
inspire stories then the
liquid comics improvisation was a
extraordinary laboratory but come
also a little frustration with this
sadi laboratory in improvisation
it’s snapshot obviously I ‘m there
learn nothing, it’s faster
to think and say or do something
than to think and draw it
so there was always a stake in
speed is about solving this
we were thinking we would have
maybe need a lab that
would give us more to last then we do not
creates parenthesis 9 whose mandate was
precisely brings out the lives of
boards
I have more ideas then
with tarentaise of foundation nor of
multiple projects is in any case it’s
possible in 2015 when we are an issue that
is extremely interesting because
that usually if we collaborate
an author with a draftsman and ben them
two are aware of the existence of
the other so what makes the two
will leave room in the
Caucasus is possible and it’s a warrant
which we have been given to illustrate
texts by recognized authors of yann martel
margaret atwood russell banks dany
laferrière texts that have never
been thought for the drawing and that between
you and I do not really need the
drawing no longer to exist
so we had to find out how
illustrate these texts is what in a
context where we talk about madness we go
with a very chaotic axis drawing
are we trying to represent the
pressure that a character undergoes
crowd watching it is what we are
able to bring the viewer to
Haiti
in a text dany laferrière by the
colors by the decor
the best example of everything unless a
such 06 bein what we had to illustrate a
extract from american darling absolutely
superb where the narrator has just been
witnessed a failed coup d’etat he described
with verve all the horror she saw the
violence the war the cries the smoke the
guns the faces there were
literally nothing to draw or
almost it is the stage
vincent champoux who saw lightning and
who says it but what is missing is the
look at the one who observes it is the
look of the narrator
so we were paid track there
perceives the horror in his eyes and that
maybe we create a communion a
communication between hoped
the horror in the eyes of those who
were listening and watching our setting
drawn reading it took us a
great lesson this project there is the idea
to go beyond gadgets
if we draw if we integrate the drawing
just to integrate it because
that’s our mandate that’s our
goal is good we miss completely
we have to have a reason for
do it
a real tangible justification
concrete
parallel phil dowd project we have
developed have explored tools
encounter with the sky drawn on it
done for two three years and that’s me
seem extremely stimulating because
that at the level of drawing we still
a variety of tools we have fire
obviously we do not have the pastel the charcoal
watercolor we do not paper and
computing with the circus had
just as many tools the hula-hoop the
stick contact her acrobatics ecce
will bury the juggling then to put in
common his tools there and see how
they could coexist
it seemed pretty extraordinary
so we started doing it on
had fun for example with a diabolo
diabolo it’s like a kind of everything
stung on a rope that can be done
bounce and ben we have fun doing
the features and the diabolo in his
movement was to imitate the feature of
designer
we do not pray the cube which is a huge
box there loses heavy is really
fat made a metal cube and we
makes me a box of comics
three-dimensional we had fun with
our mime and we do not dice on
the screen it matter to bring a little bit of
concretely to this loeb decor and we do it
interact with these huge with these
elements we had fun creating
atmospheres and abstract decor where it’s
to focus on the emotional side
some numbers
we had fun creating relationships at
through this emotion there to make a
love story between characters on
paper and an acrobat who made
acrobatics alone one does not push a
little logic also question always
to bring concrete where we write my
creatures on the screen with which one
interacts it’s and on the picture well
our mime and some on skates to
castors
because the world ranks the monster the
whistle on one side with the water of the Seine
she had to follow the drawn breath
eventually we wanted to go
little further we said
to be pleasant that the movement of
circus artists can find themselves
on the screen that we can interact in this
gesture then the year 2000 and sensors of
different camera sensors
digital devices and we did
draw our circus artists to
the screen eventually we were small to
flick a little further and we
began to put what are called
sensors that are born from sensors
of depth so we do a kind of
3d modeling tells him mentaires
could say like that so we do not
the bodies on the screen we only give to the
designers
go on drawn there have fun in this
space
so you understand that for us it’s
an extremely stimulating project and
abandoned over the course of the explorations
asked why it was so challenging
what came out was
basically that both disciplines
that we had put in contact had decided
not to use herself but to
serve the other
the circus had been serving the
drawing drawing circus service there
had none of the two disciplines that
was the little hand of the other in
egalitarian relationships that allowed a
real communication would have the exchange
between the two disciplines
a real listening also and without
this listening there I do not believe that this
project has been as far as we’ve
managed to bring him to this day obviously
we come out sometimes of the performative
we will also go to the side of
the exhibition
our most recent in 2018 it was the
chronicles of montcalm so a
augmented reality exhibit that we have
done in public space on the avenue
cartier in quebec for that one we are
returned a little to our homework
we went back to the medium to the
reflection on the comics medium
in comics when we love started at
think about the medium usually one
go to scott mccloud who is an author
who also thought a lot about the structure
what is the rules and
how burst them into a little book
which is called we have band in comics y
bring a principle called she says
is born canvas
I explain we did not speak boards
sometimes the pleasure board is the page
in the book
so if I create a comic in a book I
want to make planks and he told himself
but if I create a comic elsewhere is this
that I still have boards the example
that he used was the web page in
a page but the rules the web page and
the rules of the book are not at all the
same
we then agree in the web page
could go to infinity up and down to
left to right and so what makes that
rather to be limited in a tiny
age and well we can go is not finished a
everywhere we want to create a story
will be essentially
cancellations and so in that context
well we adapted the spirit of the band
drawn to this new medium of the page
paper to the web page
so what we said through everything
that’s what you had to understand
the mind of the comic the senses what is that
this is the idea of telling in
sequences with drawing and text to
rice needs if a story and in
what is this reality has taken 30
there and put it in the context of the
augmented reality second small lexicon
to make augmented reality
we need a marker we our
parker we do not choose to take a board
must be visual marc caron
plain visual why misses
so the idea is that through this
visual there is an application in
computer science that will recognize the
elements and who will make emerge any
thing
so you have to have a
screen so a touch pad a
smart phone the screen your decor
of information and will generate
augmented reality so bring up
the invisible elements that were
hidden behind the illustration to no
to propose
then obviously in this context there it
had to wonder about our medium
we had to define the marker so we
is a space that is limited around
the page this is your playground
first constraint
second constraint the application if I
make an application that is too heavy
these people are going to want the
download so I put a maximum
information that I can enter I
can not go into too much detail
excessive
visual for example third element its
readers if you are me if I him
something with my phone
smart do not have that I have too much
texts because it’s good I you
learn nothing either so it was necessary
go get something that was
limited to the content level is what makes
that by knowing the constraints
of our new medium the reality
augmented we can not adapt the rules
of the cartoon adapted the spirit of
the cartoon in this new setting
then we went our way
to a cartoon character
family
we were in the public space with a
drawing that was simple black and white
which also recalls the aesthetics of comics
that creates a distance between reality
in which we propose the comic on
brick walls in streets in
urban space
we created stories that was very
daily very close to very people
close to where they are
when he discovers the comic is
obviously all that did not stop us
no longer having fun testing the
limits a bit of the framework we had
given to try to see until what
height
we could go up to what
distance we could get away from our
mark hours it’s a bit time
is made parentheses the factual so
five years of work thinking
collective and collaborative to try
to see how we can help you
counted from a multitude of other
people to pop the medium
what is the comic book Thursday one is
not only to do all this is at the limit
I think we can contribute to the sides
all these people there uninhibited a
practice ten years the
direct descendant he was confined to
bd events
here as elsewhere is more and more
authors and organizers
events programmers and
others are discovering the real potential of
this approach of these disciplines
less less and less embarrassed to
integrate it into the propose to incorporate it
to their activities
as much as for the authors we will see
also a growing awareness
sharpened that it’s something we
can do that we can propose and who
represent a real and tangible interest
and of course we are proud of the side
parenthesis notes of having been able to contribute to
this movement their here in quebec
also through the bd tax
also through the multitude
other activities that we proposed the
continuation for parenthesis 9
Well, it’s taking the three elements
determined over the years and
the multitude of others to know that
our destiny we must go beyond gadget
must be justified to understand that they
actually make the elements
in a spirit of communion and listening
mutual respect and mutual respect
practices that we want to put in contact
which must preserve the spirit of the band
drawn and adapt it to the new
context we propose it so we try
basic rules there and for us we will
wish obviously to continue to
explore and see how far we can
push and see if the seventh in the
duration and in more and more projects
more imposes
thank you
[Applause]
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