This article seeks to reveal the semiotic challenges of writing and interpreting the graphical and augmented partition. By convoking the notion of "flatbed", by describing the multicadre aircraft on the blank zero as surface pre-existing to the writing of the comic strip, it will be a question of posing the graphic and augmented partition as a diagram in the deleuzian sense of the term (that of logic of the sensation borrowed from Bacon). Indeed the graphical and augmented partition proposes an intersemioticity and an intermediality in process as much in its writing as in its interpretation. It is the site of a semiotic stock that must be considered as a sensitive surface for the reception of movements, rhythms and modulations. In this, it also proposes to think a variant semiotics, that is to say a "plastic semiotics". The challenge of this practice is twofold: on the one hand it poses the work as an ecopraxy that summons the entirety of a gaming situation as the temporary and labile construction of a possible "habitat", on the other hand, it would make it possible to insist on the fact that a work is not only an object of knowledge but a construction of knowledge in the sensible and the sensitive.
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