On the 2013.01.18 we assist to the lyric evocation of a while of happiness at the ridge of an imminent rupture, interpreted by Marie Bernard, (soprano, Aline Quentin, mezzo soprano, Sandrine Lusignant, harp. A soldier appeared, they understand that they will be separated.
The simple apparition of an object, and a fortiori of a loved person, changes my chemical equilibrium, the perturbed is changed in an new equilibrium, within a dynamic exchange between to human being.
But the time of this dynamic equilibrium is nevertheless limited.
A rupture appears as a fatality.
The emotion is in this transitory biologic state born from the rupture of my internal equilibrium.
In this trance the object changes me chemically, so I see the object in another way, so that the object becomes a new object, this one going once more to change me, and so on in a permanent exchange of information.

The painter catches a significant, and changing of state, may catch another one anr occurs nox the need to continue an multi sensorial exploration of the object.
This exchange of information is intensive between the object and my body.
The information is not the energy but goes always with the energy.
An intensive exchange of energy operates between the models and the painter.
This exchange of energy was triggered by Marie Bernard, soprano, Aline Quentin, mezzo soprano, Sandrine Lusignant, harp, triggering the modification of the environment by the only presence of the object, my living body being permanently in exchange with the environment.

Bip TV devoted on the 2013.23.01 during the daily news on page to the book How to represent Action.
Radiorésonance devoted a one hour talk about Vision in Action about the performance Tango an Drawing excuted during the Biennale of Contemporary Arts of Bourges.
Radiorésonance devoted also in december 2012 a one hour emission on the lyric show performed at the galerie Pictura of Bourges devoted to A While of Happiness with 12 paintings of couple of women titled Turtles-dove.
France Info Sciences, of Radio France, directed by Marie Odile Monchicourt devoted in 2006 an emission to the book Drawing in Real Perspective.
France Bleu broadcasted several times in 2009 an 2010 emissions on The Neutral Light.

On the 2012.11.14, at 18h15 a performance of drawing and dancing was given at Café In, place Gordaine, Bourges.
The performance of dancers of argentine tango consists of improvising on the music.
The performance of the sketcher consists of catching their action on life.
The action is not the movement only.
The question is to catch the living out equilibrium, in a transforming process, with his intention of action.
The painter grasp as they come, with the chance, gestures in successive whiles which unroll the present.
That arrives naturally when the brains of the dancers, draughtsman and the music are synchronous and the draughtsman is dancing with the dancers.
The spectator's brain looking at the drawing remakes the movement of the scene and the presence of living.
This technique is presented in the book How to Represent Action.
Edited by L’Harmattan, 7 rue de l’Ecole Polytechnique 75005 Paris
Available by phone 01 40 46 79 20 by L’Harmattan or Amazon or booksellers.

On the 2012.09.09 the performance occurred in the great chamber of the castle of Villemenard.
What is then so innovative in this performance executed by a draught man and two dancers?
Precisely the fact to draw in the present dancers dancing.
The present is not the while grasp into an attitude, with a photo camera, within a form diluted by the movement, losing the materialization of the image.
The present flows with the time with all emotions multi sensorial that dwell it, in an exchange of energy with the living out of equilibrium, perceived and represented.
Degas has draught dancers, but giving only statics attitudes, at a classic period when choreography represented a succession of canvasses.
Delacroix has sketched, remembering it, horses in full run with opened and multiple lines.
Rembrandt (drawing of the Capricious Child) and Wouters (bronze titled Domestic Worry) have represented body out of equilibrium.
Xavier Bolot, sketcher and painter, has systematically, working on the theme Vision in Action, drawn and painted dancers dancing or acrobats in action in life in public.

This work published in July 2012 is the third of a trilogy about the arts of living after
Drawing in Real Perspective and The Neutral Light.

How to Represent Action approaches the living with three iconoclast steps : the hazard is our wealth, the emotion and the knowledge, the levels of consciousness of the artist.
This approach reset our traditional conception of the human being and allows us, as an example, to use our faculties to draw dancers dancing or acrobats in action.

On the 2012.06.09 at 19h, Martine Charpin Galery, place du Connétable, Sancerre.
The work undertaken here by Xavier Bolot, Camille and Georges invite you to discover the life of a workshop in the intimacy of his research.
Under a choreographic aspect, movements, spontaneity of the gesture and fascination of the living will be convoked.
This performance points out the complexity to grasp the reality, the right gesture, and the corporal language.
The ritual of the creation is the represented, visceral and spiritual.
The counterpoint between bodies draught and active bodies try to reveal this inexhaustible question : what is to perceive the other ?

On November 2004 this exhibition had as thema The Man.

On this rough painting we can see two lumbermen, the eldest teaching to the young apprentice how to measure the high of a tree just looking at it.

L’IREM, Research Institute on Mathematics Education, l'Enseignement des Mathématiques, held his congress at the University Rabelais of Tours, France.

The communication was « How do we built a sable visual world in a stochastic environment ? »

L’Harmattan having edited in septembre 2007 Drawin in Real Perspective and in february 2009 The Neutral Light, I have presented to my colleagues of the INPG Institut National Polytechnique de Grenoble, in mai 2009 the equations of the Real perspective, experiment on Kanizsa triangle and electronic ways of our vision in our vision in our brain.