“Yet it can happen, suddenly, unexpectedly, and most frequently in the half-light-of-glimpses, that we catch sight of another visible order which intersects with ours and has nothing to do with it.[…] We come upon a part of the visible which wasn’t destined for us. Perhaps it was destined for night-birds, reindeer, ferrets, eels, whales…” John Berger

Tristan Plot is a bird educator; he prepares them to work with human beings in theatrical and dance shows or film documentaries and develops with them some “ornithotherapy” sessions with prisoners and people in distress. When he was a child, in the forest behind his parents’ house in the Touraine, Tristan noticed that, if he remained still for a long time, the animals came out of the vegetation and it was possible to observe them. Even today, this practice of slow approach, respecting the rhythm of nature, remains essential to his educational method. Since he studied ecology, biology and ethology at the university, he developed an educational technique at the intersection of imprinting, traditional training and « positive training”.
His method is a set of observation and predisposition of mind in harmony with the environment, according to the sensitivity of the other and in relation to expression and behaviour codes which are different from the human ones. Tristan, through the intuition of animality as something delicate, subtle and minimal, defines the relationship with birds as an exclusive bond able to reconcile the rhythm of the species with the individual one. His research is based on the understanding of the sensitivity of birds and aims to recover that ability, which got lost over the course of evolution, of perceiving the minimal variations and micro movements that are the expressive world of animals.
96 pages + 16

Critique d'art n°55
Seoul Flowers & Trees - tribute to Lee Friedlander
Le corps travesti - Michel Journiac
Bande Annonce - Cinéma & Bande Dessinée - Coll.
Pectus Excavatum - Quentin Yvelin
Dialogue de dessins 8 - Marcus Oakley, Roxane Lumeret, Zad Kokar
Temps d'arrêt - Etienne Buyse
Good Company - Paul Van der Eerden
Aurore Colbert - Marie Mons
Les Climats II (Japon) - Lola Reboud, Mariko Takeuchi
Un essai sur la typographie - Eric Gill
Dédale - Laurent Chardon
Gros Gris n°4 - Duel
UP8 — Pour une pédagogie de l'architecture
fil·le·s de polypropylène bleu - coll.
Turbo Decompress - Coll.
Photographic Fields - Joël Van Audenhaege
Avec ce qu'il resterait à dire - Anne Maurel
Deep state - Mathieu Desjardins
Saint Julien l'hospitalier Tome 3 - Claire Pedot
La traversée - Magali Brueder
Le blanc nez - Fouss Daniel
L'inventaire des destructions - Éric Watier
Soundtrack/s - Rosaire Appel
Cruiser l'utopie – L'après et ailleurs de l'advenir queer - José Esteban Muñoz
Farandole - Jérémie Fischer
Prose postérieure - Les commissaires anonymes
Der Erste Rotkehlchen - Le livre
Il était deux fois - Gary Colin
Sillo n°3 - Le Fauve
America - Ayline Olukman, Hélène Gaudy
La prise - Florian Javet
Science of the secondary #11 - Banana
Papier magazine n°06 - Coupe du monde
Roven n°4
Mariken Wessels — Miss Cox
Le chateau enchanté - Atelier Mclane
Manuel d'écologie urbaine - Audrey Muratet, François Chiron
Le singe et le bijoux - Roxane Lumeret
La France de tête #04
Alma Mater n°1
L'abécédaire d'un typographe - Gerrit Noordzij; Jost Hochuli
akaBB - tribute to Roni horn
16 x 421 - Lorraine Druon
La construction - Perrine Le Querrec
Mökki n°4
Editer l’art – Leszek Brogowski
SKKS - Gilles Pourtier
Illusive prosody - Alex Beaurain
Roven n°5
Dear Paul - Paul Van der Eerden
Titanic Orchestra - Julien Mauve 































