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J'étais un admirateur de François Le Lionnais. Mon père, qui avait été de ceux qui luttèrent contre l'Allemagne nazie, m'avait fait lire, dès 1946, ce beau texte qu'est La peinture à Dora. Et plus tard. Les Grands courants de la pensée mathématique avaient joué un rôle décisif dans mon choix de devenir mathématicien.\u003c\/p\u003e\n\u003cp\u003ePendant cinquante ans ou presque, j'ai consacré une partie de mes efforts de compositeur de poésie et de prose à me comporter en oulipien, au sens où, je pense, Le Lionnais entendait ce terme. Comme pour toute théorie scientifique, il est nécessaire d'expérimenter, d'examiner régulièrement les concepts de la théorie, de réfléchir à ses applications, etc.\u003c\/p\u003e\n\u003cp\u003e1 - Me pensant élève du fondateur de la théorie, j'ai donc imaginé et proposé des contraintes, certaines nouvelles, d'autres seulement variations sur des contraintes existantes.\u003c\/p\u003e\n\u003cp\u003e2 - Je me suis, à plusieurs reprises, au long de ces années, interrogé sur le sens des trois notions essentielles à la compréhension de l'invention du Président Le Lionnais : Potentialité, Contrainte, Plagiat par Anticipation. D'où le titre CO VA RU, CO-mpositions, VA-riations et RU-minations plus ou moins contraintes.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003erue d'Amsterdam, le 31 février 2017\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eCet ouvrage est le deuxième des cinq volumes suivants : \u003cbr\u003eI Mètres, Rimes, Formes \u003cbr\u003eII Expositions, Célébrations, Fabrications \u003cbr\u003eIII Sextines, Quenines, Cousines \u003cbr\u003eIV Pan-Perdut \u003cbr\u003eV Tridents (2014-2015)\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eIl contient une partie des recherches de Jacques Roubaud sous contrainte.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eL'ensemble des 5 volumes constitue le traité intitulé CO VA RU \u003cbr\u003eCompositions, Variations, Ruminations \u003cbr\u003eplus ou moins Oulipiennes.\u003c\/p\u003e\n\u003cp\u003e232 pages\u003cbr\u003e21,7x14,8cm\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eISBN 978-2-9540208-2-2\u003cbr\u003ePremière édition de 250 exemplaires\u003cbr\u003e\u003c\/span\u003ePublié par Martin Aboucaya \u0026amp; Yvon Lambert\u003c\/p\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e\n\u003cstyle\u003e\u003c!--\n.tb_button {padding:1px;cursor:pointer;border-right: 1px solid #8b8b8b;border-left: 1px solid #FFF;border-bottom: 1px solid #fff;}.tb_button.hover {borer:2px outset #def; background-color: #f8f8f8 !important;}.ws_toolbar {z-index:100000} .ws_toolbar .ws_tb_btn {cursor:pointer;border:1px solid #555;padding:3px}   .tb_highlight{background-color:yellow} .tb_hide {visibility:hidden} .ws_toolbar img {padding:2px;margin:0px}\n--\u003e\u003c\/style\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":37164898975900,"sku":"","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/IMG_20201203_172955.jpg?v=1607535095"},{"product_id":"jacques-roubaud-co-va-ru-vol-1-vol-2-edition-limitee","title":"Jacques Roubaud - CO VA RU - Vol.1 + Vol.2 (Édition Limitée)","description":"\u003cp\u003eÉdition limitée à 40 exemplaires numérotés et signé par Jacques Roubaud avec des marques pages d'artistes.\u003cbr\u003eChaque volume comprend 2 sets de marques pages.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eListe des artistes :\u003cbr\u003eCharles Sandison\u003cbr\u003ePeter Downsbrough\u003cbr\u003eRobert Barry\u003cbr\u003eClaire Morel\u003cbr\u003eAngela Detanico \u0026amp; Rafael Lain\u003cbr\u003eValérie Mréjen\u003cbr\u003eDaniel Gustave Cramer\u003cbr\u003eChristian Boltanski\u003cbr\u003eMerlin\u003cbr\u003eJason Dodge\u003cbr\u003eDominique Gonzalez-Foerster\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003eSur la quatrième couverture :\u003c\/p\u003e\n\u003cp\u003eEn 1966, ayant envoyé à Raymond Queneau le manuscrit d'un livre de poésie qui parut, avec son aide, l'année suivante aux éditions de la NRF, je fus introduit par lui à l'Oulipo et immédiatement invité à faire partie de ce groupe littéraire plutôt original. J'étais un admirateur de François Le Lionnais. Mon père, qui avait été de ceux qui luttèrent contre l'Allemagne nazie, m'avait fait lire, dès 1946, ce beau texte qu'est La peinture à Dora. Et plus tard. Les Grands courants de la pensée mathématique avaient joué un rôle décisif dans mon choix de devenir mathématicien.\u003c\/p\u003e\n\u003cp\u003ePendant cinquante ans ou presque, j'ai consacré une partie de mes efforts de compositeur de poésie et de prose à me comporter en oulipien, au sens où, je pense, Le Lionnais entendait ce terme. Comme pour toute théorie scientifique, il est nécessaire d'expérimenter, d'examiner régulièrement les concepts de la théorie, de réfléchir à ses applications, etc.\u003c\/p\u003e\n\u003cp\u003e1 - Me pensant élève du fondateur de la théorie, j'ai donc imaginé et proposé des contraintes, certaines nouvelles, d'autres seulement variations sur des contraintes existantes.\u003c\/p\u003e\n\u003cp\u003e2 - Je me suis, à plusieurs reprises, au long de ces années, interrogé sur le sens des trois notions essentielles à la compréhension de l'invention du Président Le Lionnais : Potentialité, Contrainte, Plagiat par Anticipation. 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