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Pierre Lobstein, video & co

WopoW, last dance

a choerography with animated images/motives/words
Pierre Lobstein, transmedia portrait maker
Joe Dale T. Nevaquaya, poet, painter
Richard Ray Whitman, photograph, painter

WopoW it's word, picture, motive
it's the voice's noise, the unintelligible sound,
the mu sound, the fly which buzzes,
it's the portrait, the exorsice of absence,
it's what's pushing to motion, excites,
it's the dumb, the ghost, the reason of action.

A WopoW, it's a digital attractor , it's a strong "dismaker" always recombining

"I perceive" rather than "I see" and "I hear".. Sensory thinkings, emotional comprehensions..

The WopoW emerges from a motion, a structural instability, from, between some respective & common worlds:
the world of two person-of-dry-humour, american by default, Yuchis from Oklahoma, -a tiny indian tribe which language, unique, is dying-,
the world of an inveterate optimist-without-illusion, born by chance russian-alsatian in Marrakech,
the world of a contemporary creation with some ethical & esthetical, rather than ethnical, concerns..
The WopoW excites all technologies without any scale or hierarchy:
from sand hand-writing to digital book, from web icon to giant videoprojection,
from the most physical to the most virtual..

The WopoW last dance, 1, 2,3..
1 is a vanity shown as a triptych screen where three skulls "inhabited" with pictures & sounds are also glorified under a halo of words (13' loop),
2 is an illumination which, as a book with three unfurled faces, combines 36 "animated" verses of pictures & sounds (42" loop),
3 is a spoken word which, as a Vatican's ceiling or an inverted panoramic table, shows & solemnizes its figure -among the last speakers of a language for ever gone- (3'loop).

The palpitations, here, evoke that trinity through tiny moments, as this above, where Joe Dale, in his cardinal word, calls the yuchi language generator, since the beginning of the times, of a wild shared liberty..
- there are no words for lines or demarcations, boundaries, borders or landscapes that are measured, surveyed, designated..
In the Yuchi language, the word for land, SAAH-CHEE, is ephemeral and evolving, and there are no true literal translations into english. SAA-CHEE, land, sit down, under, above..

So, how "to read" simultaneously the 3x12 verses which compose that immotiword's book, how "to see" the 36 pictures x 25 x 3" which, in addition, "inhabited" it?
How? How? Hammering in front the triptych..
Lastly, how "to listen" to that Yuchi -You..She-..-You..See-.. which resounds as a testament music?`

Then, from a WopoW to another, opened eyes wide, unfurled ears, the feeling of a wringind neck

"To perceive" rather than.. we said.

"To make emerging" crossings between times where poets & scientists. and all the "passer-by", simple and real human beings, enjoy these new & unsuspected landscapes generated by their own footsteps.

In the 16th century, from Italy to Mexico, the "Grotesques", from book's covers to huge walls and ceilings of churches, convents, palaces, draw, through their arabesques & chimaeras, crossings runing over all the borders, the traditions.
André Chastel wrote: "their world is exactly the antithesis of the representation one where standards were defined through space perspectivist vision and the distinction, the characterization of types" (la Grottesque, essai sur l'ornement sans nom).
Flamboyant hybridizations, they lived only the time of a transition.
They haven't left any tradition until today in the heart of a new storm in representation..
Their trails, their ghosts excite our immotiwords...
The meaning of action..

WopoW! Words opening pictures opening Words..

"last dance" a video scenography for 4 videoprojectors, 3 monitors & 7 players.. waiting the digital wall paper & the electronical ink: e-ink.