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The digital epaper service Cybook Opus

My friend Jean Pierre Stholl offered me a few weeks ago to perform a lithography the workshop "A Stone Flower" .

is what we did Thursday and Friday.

This lithograph will be on sale at the gallery Olivier Nouvellet from 14 December for 80 euros.

course, the technique of lithography is far from the digital and the workshop "A Stone Flower" is one of the few Parisian shops (I think he is 4!) To propose true litho stone, which is one of the modes of artistic impressions of the oldest and most sublime I know.

This time, the impression is held from metal plates: the other lithographic technique.

Stephen and Laurence retouching

I used the pad to the preparatory work of the three subjects that I wanted to achieve and that is photoshop m helped him with his system layer.

and I simulated the development of each plate (one per color).

Here, digital does not just helped me prepare my drawings, it also helped me to understand and anticipate mentally construction stages of a lithograph.

workshop "A Stone Flower" in Paris

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a lithograph, a vintage of Bookeen.

I am blessed to be able to use the last few days, the last reader of the society Bookeen: the Cybook Opus .

I tell you right away: I'm totally a fan!

If you did ever read on epaper is with Opus must begin: it is a marvel of simplicity and efficiency.

Cybook Opus is a remedy for those who do more reading, and ideal for avid readers.

that I tear my eyes for weeks to read on the subway on my iPhone, I come with joy to play with a real album.

side images, the Opus is the perfect medium for watching digital drawings;

epaper The quality of the offer once more the way forward for all the paintings and digital works.

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- Cybook Opus is finally on sale at the Fnac !

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"The setter" exhibited in Paris

"The setter" is the portrait of Isabella Gozard, I realized in 2003.

But it's also a text written by Isabella, where she shares her experience as a model and a film directed by Jean Marc Rouget.

Everything was mounted in Hanoi (Vietnam), a few years ago.

The Cultural Space of Memory Aveni r, and this since yesterday for a month, a "short" version of the poseur: Reading, painting, evolution, video (picture above).

A new opportunity to explore this artistic experience.

The Cultural Space of the Future Memory

45 rue Ramponeau

75020 Paris Metro Belleville

Information: 09 51 17 18 75

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digital painting and music


I makes a nice meeting a few days ago with patricio Villarroel .

We were recently in contact through Flickr and exposure Mobile Art .

He is a musician, painter, and especially "Fingerpaint" ie it produces paintings on iPhone.

Our discussions have dragged down a thought:

paint digitally, it dematerialize pictorial material. The original work is untouchable, like music .

continued ...

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Mobile Art: 200 works already

For five days, more than 200 works have already been uploaded by the artists, and there are still two months before the first selection!

You can turn on the Flickr account >

All info: www.art- mobile.fr

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Painting Exhibition in Paris on iPhone

Here we go! The project to create a painting exhibition on the iPhone is launched.

This will be in Paris in December, a site is online for all the info:

www.art-mobile.fr

The idea is to present some works (made on the iPhone) in black and white on a support epaper.

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A few details before you start ...








Hello,

Here is the transcript of the proceedings of first States-General of cultural action film and audiovisual which were held in January 2009 in Paris, attended by over 300 people representing more than 200 structures representing the whole of France for diversity and cross-cultural action film and video, with the presence and intervention by institutional and national and regional elected.

It is preceded by a summary internal debates that took place the day closed between the hundred professionals who have been fortunate to have access, as space is very limited ... regrettably

... and followed by:

cultural action, the States General and after ( Cahiers du Cinema, February 2009)
Notes in ink Blac written since May 2009 by Emmanuel Burdeau (for Médiapart particular) as much extra time for reflection.


Happy reading.

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Summary

SYNTHESIS Thursday, January 8, 2009

Post morning of January 8 was restricted to field of cultural activity that have been invited to discuss and exchange from an inventory of cultural action film audiovisual and to define together a real "charter" of cultural action.
We discussed in particular during the afternoon following themes:

• Cultural action film: the role of theaters
• Issues citizens of arts education and vocational
• renewal talent
• The Auclaire report: critical analysis

TRANSCRIPT OF Friday, January 9

Introduction
Andréanszky Eugene, Executive Children and film Amelie Chatellier, Deputy Delegate General of the SRF - League of filmmakers.

I - TESTIMONIALS
Morning Lefait led by Philippe, a journalist for France 2

Unable to hear from everyone, the choice of individuals and associations present was not dictated by the will highlight a more than another, but rather by the desire to represent the action in its cultural diversity, both geographically and in terms of fields of action. In order to present many accounts, they were brief, and incisive. A director was present at each discussion.

Cinema prison of Justice and of Health, has signed two protocols for culture, including movies, can go into hospitals and prisons. Today, besides the fact that financial resources are insufficient, these programs remain confined to the idea of social action that reduces the meaning of what is produced and is available in terms of image, since it is on film Above all it is. It is essential that the Ministry of Culture reaffirms the value of a cultural action film in its own right developed in these places by imaging professionals.
Image Traveler


The image education. Weaving link

Jerome Descamps, director, founding member of Film bewitched (Champagne-Ardennes)
GLEMAIN Antoine, director Atmospheres 53 (Mayenne); Chantal Richard, director. Screening of
Y 'not only the flowers
(3'), film studio, The Film Enchanted collective achievement.
What would happen if "brave warriors" did not take the road to go towards public confined to the four corners of the world? The basis of any democracy is to ensure that the conditions access to culture, as well as rights to health and education are equal for all. The mesh of associative cultural action suffers from inadequate resources, where they should be strengthened, so that every child and every adult can, by right, have a positive image of education and fully enjoy the same rights.

Popular Education

access to culture for all real issue citizen
Belaïdi Aisha, president of Urban Talent / Film Festival on Nuggets (Ile de France), Jocelyne
QUELO, responsible Multimedia Home People Montreuil (Ile de France), Cyril Seassau, the League of Education; Jean-Pierre Thorn, director.

Since Andre Malraux, who championed its values, popular education, while experiencing more or less difficult times, remains a major challenge of our Republic. Europe has always envied France her bold programs, able to offer a diverse culture and accessible to all, including the poorest. The structures that have marked the history of popular culture are weakened by the decline in lending, multimedia projects abandoned by the Ministry of Culture and the new incoming associations suffer from an already impoverished. What fate then this priority of our civic life?
Hall and festivals


Distribution is committed

Philippe Etienne, Director, Executive Gindou Festival (Midi-Pyrenees); Nicolas Mey, head of the cinema Salamander Morlaix (Brittany);
Gilles Porte, director.

From north to south of France, without the diffusion through the halls and most diverse festivals, film diversity could not exist. Without the work of professionals committed and passionate about what they show, for the variety of looks and themes proposed, we will find ourselves without food for our imagination, entrusted to a very poor standard and complied with the rules the box office, already so overwhelming. Ensure the survival of these structures must be part of the primary concerns of our guardianship!
Speakers in the room
Anne-Marie Testy, Director Studio 13 in Cannes, Anna
Defendini, representative of the CCAS, works for EDF-GDF;
Cyril Light, Confederation rural households;
Christian Oddo, a representative of SDI - Union of independent distributors.


II - ROUNDTABLES

moderated by Aline Pailler journalist


the afternoon helped lay the groundwork for a dialogue with governments, politicians and professionals about the prospects and fate of public policies for film and broadcasting in our country. It was organized into two large round tables.

Roundtable

Creation / distribution: issues of cultural action film and audiovisual

Solveig Anspach, director;

Durupty Anne, Deputy Director General of NCC;

Eric Guirado, director;
Vincent Paul Boncour, distributor (Carlotta Films / Movies Bodega)
Sylvie Robert, Vice-President of the Regional Council of Brittany responsible for culture and national culture secretary of the Socialist Party;

Gilles Sacuto, producer (TS Productions). Speakers in the room

Blois Lawrence, managing director of SNRT-CGT;
Philippe Germain, Executive Agency of the short film; Ermeline The Mezo, regional coordinator in Champagne-Ardenne Month documentary film.

The theater as every industry sector "research and development, embodied in particular through the die of the short film, which forms writers, directors, producers, technicians, artists - who will be tomorrow's cinema. Our industry also produces films that are not immediately "profitable", first films, experimental films, documentaries ... Yet these films are distributed and face an audience, through the extensive network of festivals, art house cinemas, theaters associations, which are in France a single mesh in the world. How the creators themselves do they see this vast and diverse network of cultural action? What is the role of the network of cultural action in discovering and promoting new talent, then recognized by the market itself? How to continue this research in a context of growing insecurity and fragility of these networks? Might we not threaten the renewal and vitality of our creation by weakening the broadcast?


Roundtable

Cultural action film and video, an essential element of the regional cultural development?

Alain Auclair, member of the film distribution to the CNC;
Stéphane Brizé, director;
Vincent Eble, President of the General Council of Seine-et-Marne; Hurard Francis, advise the Department of Theatre Arts and Communication;
Antoine Leclerc, managing director of Carrefour festivals; Dominique Paille, Advisor to the President of the Republic and spokesman for the UMP. Speakers in the room

Andréanszky Eugene, managing director of the Children of cinema
Xavier Blom, director of the AFCA. Huguette Bonomi, project officer at the pole Culture of the French Federation of Youth Homes and culture; Frederick Borgia, managing director of Cinema 93;
François Campana, national coordinator of the device Smugglers images;
Catherine Cavelier, operator of the Cinematograph at Nantes
John Peter Daniel, director of the Alhambra in Marseille and president of the Children of cinema
Philippe Germain, Executive Agency of the short film;
Helena Jimenez, director of the regional delegate ACRIF and students and apprentices to the movies in the Ile -de-France, Stephane
Goudet, director of Méliès de Montreuil;
Fabienne Hanclot, general delegate of ACID;
Michel Humbert, president and director of the SCARE of the AFCA.
Antoine Leclerc, managing director of Carrefour des festivals
Bernard Legendre, representing Parny Francis, vice chairman of the Regional Council of Ile-de-France, responsible for culture;
Jocelyne QUELO, coordinator of media culture at the House popular Montreuil;
Geneviève Troussier, director of Cafe des images Hérouville St. Clair.


France, for a cultural policy proactive built step by step, year after year, a regional cultural development unique. Cinemas, but also festivals, film clubs, MJC, media, schools, high schools, prisons, hospitals ... and many other places still allow each citizen to have access to culture and cinemas. These distribution networks, highly diversified, highly protean, are now in danger and greatly weakened. In this context, what future for the democratization of culture, however, advocated by the President of the Republic? What access to works for the public tomorrow? What roles should take the different territorial levels, states and local authorities, in support to field? How to restore confidence?

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David Hockney also painted his iPhone


The famous painter David Hockney uses his iPhone to paint. A 71-year artistic curiosity and the youth of this artist enchants.

"The BlackBerries are for secretaries and office workers while the Iphone is used by artists," he says.

An exhibition devoted to it at this time in London at the Annely Juda gallery where he exhibited essentially digital works, created on computer and printed, and then some, raised with the paint.

He says he made drawings on "printing machine".

One can easily imagine that David Hockney epaper will use when it becomes available in larger sizes, and color.

Note that I make with friends, a site dedicated to works on iPhone and iTouch, with the idea to mount an exhibition for Paris next.

I hear about it soon.

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STATES GENERAL OF THE ACTION FILM AND VISUAL CULTURE

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Introduction: why we () are there


A year after the call for mobilization of St. Andre des Arts, the gloomy outlook that lay ahead at the start of 2008 have come true: the state continues gradually to disengage from the cultural sector. Succeeding in a first set of responses to declining public funding of cultural activities, these general statements mark the entrance into a second phase: it is now to strengthen the collective voice to bring out a unified and structured players in the field and represent a driving force in the debate on cultural policies. The finding

first - we might say crucial - that crosses and guide the exchange of four workshops set up in January by the collective, like a breadcrumb is the absence of a negative definition of cultural activity
. Indeed, the cultural action is ill-defined concept - perhaps simply undefined - which covers such a multiplicity of actions infringed on an area so extensive that a fine understanding of its diversity and its national , regional or local is thereby impeded. In practice, and by nature, cultural activities developed locally. Hypothesis: This misunderstand-induced growth primarily a failure to take into account at their respective cultural policies by the state and the CNC - Centre National cinematography -
and by many communities. Second, this failure led the state and CNC

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Workshop

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The movie theater: a place to open up cultural action

"
must expand the walls, windows ... or we will die . "This injunction
is unanimously shared by all operators working in cultural action. Need to develop other artistic experiences, to open the site with other content (video games, internet, broadcasting in general) to work with new tools (digital), to multiply, as in some national scenes creative workshops combining artists from different backgrounds and professional technicians, to offer viewers participate to the lineup of the room ... Here, brushed a few words, the different perspectives to which it seems imperative that the operation is moving today.

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rooms is misjudged

The current assessment of the work of cinema it would be indexed, so underlying
on notions of profitability and results
? The question is ... at least at the level of grant aid support selective account by the CNC. Indeed, we raise the paradoxical consequences of the classification arthouse which triggers the system of aid. This came mainly from an automatic indication that corresponds to the proportion of sessions provided to all recommended films programmed, without distinction between articles and films without taking into account the results of traffic carried on these sessions. Thus, an arthouse film

fragile programmed over many sessions, will help close a room - even if it has attracted very few spectators and no work accompanying n ' was conducted. Paradoxically, this same film, scheduled one session with a real job and support a public success, will be less well reflected by the ranking. Paradoxically always, the programming of a film art house holder who contributes most the classification of the room since it has benefitted many sessions.

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Outlook: Improving the financing of cultural activities

"The support fund
penalizes us in our desire to open to other forms of expression to other art forms.
" Indeed, today the rules eventually force us, by restricting our room for maneuver. It no longer fulfills its role properly support, encouragement to new attempts. That is to say that we have gone from a sense of support for a logical incentive, which is not the same thing.
We stand together so the renovation of the support account. This renovation will
among other necessarily a review of the classification Arthouse, criteria too broad.

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Workshop

CITIZENS ISSUES OF EDUCATION ARTS

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"We do not want an image education"

This provocative title accent indicates a firm position which we believe: art - and its corollary, the aesthetic experience - is put at the heart of the debate
. Initially, we prefer to substitute "arts education" to "visual education", a term that connotes too the prospect of sending a know

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We denounce all forms of normalization


To share the aesthetic experience, it also teach viewers to" see everything "or to see everything, but by talking together so that everyone can exercise critical thinking. However, this freedom is threatened by censorship of content - prohibitions, restrictions - which leads to a phenomenon of EEG / EKG flat (brain or heart ...) ". More surprises, questions, but a dull race. From the observatory of the creative freedom of The League of Human Rights , a representative gives his review: "The protection of children becomes obvious pretext for an increase of a number of censorship in general, in film as in other forms of artistic expression
[...] and raises the prohibitions, under 18 years total, which amounts to a infantilize adults.
"

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Arts education is underfunded


Minister of Culture and Communication has announced a goal of doubling the number of school three devices: School and movies, cinema College, Students and apprentices in cinema. Beyond the questions it poses for both rooms for local authorities, the State Will he give the financial means to match its ambitions? As projects interdepartmental school measures of image education suffer from recurrent problems have always had the Ministry of Culture and Communication and of Education to work together. It is time to emphasize that this result include lack of undue financial intervention of the National Education .

Actions in schools, particularly in the context of "options for cinema schools, are underfunded. Teachers are increasingly required or urged to stay in class and out of the least often as possible. Their margins of maneuver and initiative are reduced in a context of respect for the increasingly rigorous program and crackdown on basic knowledge. Furthermore, in response to the objectives of democratization of culture, the rate of school sessions was capped at 2.50 euros maximum, in recent years, and without that National Education is not involved systematically in return. If local governments withdrew their future contributions (including compensation in ticket prices, or support of transportation for students), schools and theaters would be put into difficulty. The rooms are then forced to "filling" at the expense of quality home groups. Would it really meet the mission of arts education? The answer is no.

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Workshop

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The role of associations in the life of a film is paramount


" A dealer will often be limited to asking the director to move. If a producer, actor or a chef-operator makes you want the public to come into a room, do not hesitate to invite them. "
The directors and producers are eager to share their work with the audience, to be invited into the venues.

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L access to finance coaching works is difficult


major and crucial problem: there is no money, not enough revenue to pay for lift the work of filmmakers and producers.
Directors who accompany their movie, sometimes for six months of touring in theaters, are very often not paid for this work of cultural activity throughout the territory. Moreover, it is not uncommon for them to lose their rights to unemployment compensation because they give up a job creation during this period. Rooms, primarily, rarely remunerated work, lack of money and sometimes simply for lack of awareness: "The rooms are not always aware of the economic chain and their responsibility vis-à-vis her. We are all caught in this logic of numbers: of course we are required by the guardianship but not always! It is an internalized psychological pressure. "
Associative structures working outside cinema, meanwhile, suffer from their status when they are involved in the broadcast. Their actions at the territorial level are indeed sometimes not recognized as an integral part of dissemination policies and cultural action film.
We consider that the work conducted outside the rooms is not cinema.

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Distributors must take their share in the implementation of cultural action


The collective cultural action film and video calls that are mobilized all agents of our industry, particularly distributors, who are not here today ... The vertical solidarity should be strengthened in the interest of everyone. The majority Distributors are now spending huge sums in promotional costs, also victims of cost inflation (but do not hesitate to bail out on standard pricing abuses carried out especially with film clubs!). Should we not otherwise arbitrated output budgets? Why not consider a pot between producers, distributors and exhibitors to fund cultural activities around the works? Is there not a waste to spend so much money in advertising whose effects are uncertain?

"
distribution, which often do not believe in networking, offers no not the tools to communicate with the audience beyond the posters. Most associations do not have this vein. They believe that just the thing to do traditional commercial: posters, trailer, etc.. Anyway, according to the great mythology of poker film people, there's one in ten who will pass and everyone hopes that this will be his. You wait, you're scared, it's Wednesday night, bad luck and nine times out of ten the miracle does not happen!
"

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reminder of the genesis of the report

An inventory of cultural action - film, audiovisual and multimedia - coupled with a study of conditions for greater complementarity of actions in the fields of broadcasting, the Planning and Education in the image, was commissioned to Alain Auclair, in early 2008. This order was in response to the unprecedented mobilization in Saint-Andre-des-Arts Collective, whose large size and representativeness of a sector is extremely heterogeneous had greatly surprised the Ministry of Culture and Communication. Shortly after the publication of the report by Alain Auclair in November 2008, the department has demonstrated to the Blac to announce that the document would serve as a basis for dialogue with stakeholders in the cultural action.
Having shelled extensively in the eighty pages (plus appendices), we have reached a shared conclusion: we believe that the report suffers from "schizophrenia" between his diagnosis and his proposals.

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Workshop

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diagnosis halftone


must begin by highlight some interesting biases and courageous work done, show boldness rarely do most of the reports of the same type. The findings relate to our shared recognition:

disengagement of the state in the culture at a specific time: 2008;

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Proposals "staggering"

Apart from wishful thinking in general, we subscribe unanimously disagreed vis-à-vis the bulk of the report's proposals Auclaire. For example, stress analysis and some proposals which seemed absurd:

the posting of all educational documents of schooling arrangements particularly in view of the doubling of the workforce;

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FIRST GENERAL STATE OF CULTURAL POLICY

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I have a dream, dream epaper year.

My studio in Paris consists of two distinct parts fisionnent in the same space.

In the first part, I paint on canvas, I draw on paper, I use acrylic, oil, binders, pigments, pencils, crayons ... well, I speak like many artists in traditional formats. The result of this work is regularly exhibited in galleries or at exhibitions of contemporary art.

The second part is devoted to digital. I paint and I draw using a graphics tablet on my computer, I use a whole series of tools that allow me to pursue my artistic research. The result is presented on the internet, or exhibited in galleries on a perfect medium for digital painting: The epaper.

Since I have iPhone, I also paint with an application: "Brushes". I use this medium as a sketchbook. I draw everywhere I find myself in the street, subway, whenever the mood takes me. Then I send these pictures directly from my iPhone on a blog or on Flickr, in a dedicated space to everyone, amateurs and professionals, who speak with this new tool.

This whole adventure creates contacts, shared thoughts and comments. I have noticed that recently, the evidence that I am getting little mention of the art of expression, but most of the works themselves.

It very encouraging to see that the technical barriers related to digital, which regularly repelled some art lovers, preventing them from enjoying a painting on a computer, are falling slowly. The audience can feel an emotion before a work is seen on a computer.

The epaper is by its nature and its appearance, the support which will switch all a part of digital art such as paintings and drawings on computer (or iPhone). I have already stated several times on epaper works, yet now in Saint Etienne (Bernard Ceysson gallery) and I can say that the effect is absolutely perfect.

In the near future all these drawings on the iPhone will probably downloaded epaper sheets and hung on the walls. To my mind, a matter of months or years.

Create digital paintings in his studio on a large slab of glass, like a giant iPhone, and send real-time via the Internet on a sheet epaper (wifi) hung in a gallery is no longer impossible.

is even a dream is about to happen by the end of the year ...

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Brushes on Flickr

Brushes is an iPhone application that is used to draw or paint on his phone.

Recently, the platform has its Flickr "group Brushes" where you can discover over 1400 images taken using this new digital tool of its nearly 372 members.

I usually say that painting and drawing can not be that good ... here's a demonstration.

Do not forget that these little digital paintings are done with your fingers on a small screen of iPhone or iTouch, which is already a feat in my opinion technique.

We discover talent more or less assertive but still a sense of artistic adventure through this new medium.

I love ...

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Epaper Art in "The Progress of Lyon Saint Etienne

to review this very good article of February 3, in Le Progrès de Lyon. Article written by Nicole
Dupain here are the few lines that talk about works on display at the gallery epaper Ceysson Bernard (Saint Etienne until March 8):

"Drawing on digital paper, it looks a little a magic slate. In tones. The process, it is always magical. It will soon be drawing on his computer and transmit the work, and presto directly on the wall for a potential client, a gallery, museum and so on. This is a new medium for artists after photo, video ... "

Read Full Article>

A big thank you to the gallery Bernard Ceysson which supports again this adventure.

Gallery Bernard Ceysson
to: François Ceysson right: Bernard Ceysson left: Loïc Bennetière

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Epaper until March 8

" brawl-Drawings" is the title of the exhibition organized by Galerie Bernard Saint Etienne Ceysson until March 8.

digital epaper 3 works are presented.

To see more images of the show + the preview here>