, /32I;4#@B94/5-3#@B2EL+/248*#6#/45*+42'# I*::*3#@243#:B*3128*, #3/592I;44/35*#244-*3#%)#+*.*4@/X9*45## :2#8+-2I;4#@B2EL/248*#48D;:23#iD/5*&#T-,&0#O+4*35;#`28:29#'OE248/12I;4=3>## f9*#.*95#@/+*#:*#E;5#233*+I;4P#T-,&E23# _/+38DD;+4# =0))]># pq# M*# E*# 3/59*P# f9B*35# '# 8*# X9*# M*# .*9VP# Z$[# *45+*# D232+@# *5#, pp.5-6
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, #:%67)>#<4#:01:# 586# V%1:3.# 3643# 6440:6:'04># L01%T10'# $63# )7%# &6# $"43)".# :01:# 7"# T1'# &"# $633"# $6%# 58"3$%':># I1"55, #6V3:%67:'04# 2"3# "3$67"3# "4# 2"Q0%3# 265# 01# &"# 2044"%# 2"# 56# 5'V"%:)# S$033'V'5':)# 2"# (6'%"# 14# 6%%Y:#]# 404># f8'&$%0*'3"%# 14"# :%6/"7:0'%"#]# L"1:MY:%"U># c86'# 31%# 14"# ("1'55"# @g# 5"3# $5643# 2"# 56# \%642"# 4"(# ":# 2"# 56# \654#2"#(0'3#&"::%"#"4#$567"#7"::"# &):Q02"# $01%# $"%&"::%"# 14"# 61:0&6:'36:'04# 21# 2)$567"&"4:# ":# 6'43'# 14# 2)$567"&"4:# 2Q02"# 2"# :%643':'04# "4:%"# &6%7Q"3# 6*64:# ":# 6%%'P%"># f643# 14# $%%6'#31%#5"#7Q0';#6%V':%6'%"#2"#(6'%"#-+#$63#"4#6*64:#`#"4#6%%'P%">#@%V':%6'%"# 2643#5"#3"43#T1861714"#):12"#486#):)##56#%)65'36:'04#21#$6%701%3>#c"#70&&"47"#K#$"43"%#5"#$6336\"#2"#56#&6%7Q"#6*64:#K#56# &6%7Q"#6%%'P%".#&6'3#/86'#58'&$%"33'04#"4#(6'364:#7"56#2"#:%6*6'55"%#T18"4#$%0/"7:'04>#c"#20'3#&"# http://ingridcogne.net/proposals/vbs1/film-appuis APPUIS is one of the three films I created during the process of VBS1. In the extract of VBS1 one can get an idea of the different dramaturgical uses of the films and their projections, pp.3-6
, VBS1 deals with the meeting, fusion of, and conflict between different body memories in the same body
, AJW6xuYGR9U The words are the medium and the spectators are the real translators In my texts, I work with the dramaturgy, the rhetoric, and the logic around the words. " [I]t's realized through the human medium, written language, p.14
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