Some aspects of animations Philippe Bootz

General nature An animated text uses a own internal temporality. This temporality is undependant of any interactivity. It can be moving or other processes into the texte-à-voir An animated poem can only be concerned with the texte-à-voir, without generativity or interactivity. In this case, its behavior is similar to a video poem as longer as the text can be reducted to the texte-à-voir, notably by neglecting the lability An animated poem can be generative. In this case, the program mainly uses algorithms of realization. It can be useful to do a meta-reading of the program in order to access all significant features: the text can be larger than the texte- à-voir An animated poem can also be interactive. In this case it deals with the second phase of the ergodic component of the narrow reading

Syntactic animation In syntactic animation, the changing of movement of some words or part of words modify the syntactic function of some words into the written text A syntactic animation combines 2 different syntaxes at the same location and at the same time: one comming from the syntax of the written and the other from the syntax of the oral. It is a pluricode texte-à-voir. The switch between the two syntaxes only depends on the reader. A syntactic animation is a non-algorithmic generator. It generates snatches. A snatch is a coherent piece of text in the texte-à-voir. It depends on the profondeur de dispositif of the reader. The number of snatches that can be detected in the texte-à-voir of a syntactic animation is unpredictable and non-calculable instance: à bribes abattues (4:48) & proposition A syntactic animation introduces an oral character inside the written

Exemple of proposition 1 Using temporal syntax (from the oral character) À tous les caprices, L’amour En grand Ouvre La porte Même lorsque La prison reste close. Pour le dire, Avant de se plier, Le corps s’agenouille To all caprices Love Wide Opens the door Even when The prison remains close. To say it, Before folding up, The body is kneeling 2 Using spatial syntax (from the written) Le corps s’agenouille Avant de se plier Pour le dire. La prison reste close, Même lorsque La porte Ouvre En grand L’amour À tous les caprices. The body is kneeling Before folding up To say it: The prison remains close Even when The door Opens Wide Love To all caprices Proposition is an anacyclic

Use of iconic character of temporality Instance : sun by Komninos The child by Jacques Bardoux For all seasons by Andreas Müller The temporality of processes can be based on Semiotic Temporal Units. A temporal semiotic unit is a part of a process that is similar to a natural movement Semiotic inclusion in a pluricode: By projection of the temporal semiotics onto the linguistic vocabulary concerned by this process (coupling of semiotic systems), the movement can be considered as a verd and the plastic properties (color, forms, textures) as adjectives. In this interpretation linguistic is the prominent (or main) semiotics, and temporal and plastic semiotics second

Combination of semiotics Instance: dakota by heavy industry One semiotics can impose its grammar to others: the animation can be a « musical instrument » or a dancer (plastic instrument) Instance: the set of U by Bootz The main problem for the relation between the music and the visual is not the synchronization but the coherence. Constraineds rules of authorization can be applied to solve this question