Article publié en anglais dans la revue norvégienne de l’université d’Oslo intitulée Tvergastein, Interdisciplinary Journal of the environment, Issue 8, 2016, Dossier « Something to declare unpacking travel ». Le titre de l’article est le suivant « Le carnet de voyage, une approche sensible de l’environnement par l’art » (P. Argod) traduit en anglais : « Travel diaries : an approach to the environnement through art, emotions and sens ». Il est illustré par Paroles et pinceaux grâce aux artistes carnettistes Sophie Bataille et Stéphanie Lafitte.
Résumé : Le carnet de voyage emprunte autant à la géographie qu’aux sciences naturelles ou aux arts visuels. Depuis quatre siècles, les arts graphiques sont au service de la découverte du monde sous les traits des découvreurs naturalistes, puis des aquarellistes anglais et des ethnologues. Le genre médiatique et artistique propose une approche sensible de la nature et obéit à des caractéristiques en vue de sa réalisation. Cette oeuvre composite et hybride est devenue un médium de communication pour sensibiliser à une autre forme de tourisme, à l’environnement et à la préservation de la nature qu’utilisent les parcs naturels et les muséums. La pratique artistique, l’art et le voyage qui jouent sur les émotions et l’expérience diffusent les valeurs du patrimoine. Depuis 2010, il est devenu un médium de formation à l’université pour une éducation par le voyage.
I am happy and honored to present my new book translated into English « L’art du carnet de voyage » (éditions Gallimard, collection Alternatives).
The art of sketching : 400 years of travel diaries is a book published by Promopress, 2016.
« Memories of other places, travel notebooks chronicle the experience of getting to know each other and ourselves. They have been companions of artists from Dürer to Philip Delord, going through the orientalists and explorers. The Art of Travel illustrates the great scientific and journalistic adventures in history, from the Egyptian campaign to the war in Iraq. It also explores more intimate territories, capturing the essence of our world to preserve the remembrance. Between text and image, this stunning collection travels through the centuries revealing the most beautiful pages of a very human adventure. »
The art book is illustrated with over forty artists – travelers who publish many travel books for twenty years. They present their artistic work and editorial throughout their travels all over the world in the fifth and final part of the book.The variety of graphic arts, media, viewpoints, subjects and artistic styles is fascinating and makes you want to create an illustrated travel journal.
Notice to art school !
The NELLIP project, funded by the Lifelong Learning Programme – KA2 Languages, I am now writing to invite you to participate in the third NELLIP Transnational Workshop entitled Quality in Language Learning and Future Perspectives of the European Language Label. The Transnational Workshop will be held in the framework of the 6e Edition of the ICT for Language Learning international conference that will be held in Florence
Trois propositions de communications en colloques internationaux sur le carnet de voyage, outil pédagogique
– Base Languages de la Commission européenne : Label européen des langues 2011
– The International Conférence ICT for language learning 2013
Title : The University Award of Travelogue (Travel Reporting), a Tool Academic Expertise of International Mobility (P. Argod)
Title : The Travelogue and Travel Reporting, a Tool for Training and Learning, for European Mobility and Intercultural References (P. Argod)
– The 11th International Conference on Innovation in Education 2014 à Paris – France, July 7-10, 2014.
Title : Travelogue – reporting tool for a pedagogy of creativity (P. Argod)
The travel and reportage, intermedia , album and internet, is university through a creative and reflective teaching tool that promotes language learning and intercultural education from kindergarten to the personal expression and practice of the visual arts from a trade or international mobility. Awarded the « European Language Label 2011 », it becames a training tool for international and European mobility programs as well as capitalization and assessment for a personal project as professional as added value for European programs. It is used as part of a cross pedagogy in the 1st and 2nd degrees to encourage expression and creativity in the creative process used : narration scripted to witness and experience a shift in words and images, original spatial organization and creating an image where the text is entwined in the same composition graphic, use the various functions of the image, transcription movement through the pages, questions raised by the journey that acts on change benchmarks, double vocation of the hybrid genre of story ( time and place mentioned / psychology and intention of the author ), and observation statements drawn… Twelve projects on Bordeaux in schools level college and high school , we can understand the diversity of implementations of embodiments of a travel blog – story within a transdisciplinary creative pedagogy. From a selection of travel books produced by students and awarded by the National Price School book travel created in 1999 (by the CRDP Auvergne – Ministry of Education – for fourteen years) we analyze the cognitive contributions of this tool and we will evaluate how creativity can bring this production in the student trying to determine creative, conative and cognitive emotional processes (Todd Lubart , 2003 Nathalie Bonnardel , 2005, 2006 , 2009 Shelley Carson, 2011). It launched the first International Award university travelogue reporting in 2013 that caters to French or foreign students. National training courses for teachers in arts and culture (SCEREN – Ministry of National Education), entitled Teaching Travelogue I organized since 2004, provide some avenues for cross pedagogy of creativity.
The ‘Fonds Anciens’ and the field diary or travelogue diary (corpus of my PhD thesis, 2009) are a source of study for the human sciences, mostly on the epistemology of geography and ethnology – anthropology, but also for the genetic of visual arts, and heritage would be a fruitful subject for digital humanities. From pictorial works to inventory of heritage work, from illustrations of Elsewhere to ethnography and cultural geography, a corpus of diaries – mostly of travels often considered as research diaries – which would be scanned in order to incorporate a heritage oriented e-museum, would increase the value of such diaries at the national level which are conserved in museums, libraries and education based companies. As much a support, a tool and an object of research, the diaries thanks to watercolour drawings has been in the service of science and the very beginnings of the birth of the human sciences. A personal tool of research and creative inspiration for artists, the intermedia travelogue diary – reporting, from a structure work to a website is also a reflective tool for humanities, from geography to anthropology but also for enhancement of monumental Heritage and Tourism: a research field diary, an ethnographic diary or a diary of observations recorded. A set of visual or textual notes and sketches, it is the memory of the artist or scientist on the field or during a journey: collection of material, observations, a harvest of the fruits of hard work or research.
The catalogue of archives and manuscripts of French academic libraries:
The online inventory of digitized corpus and digitization projects of institutions and organizations of Higher Education and Research:
Courses of studies:
Geological diaries of Philippe Glangeaud from 1899 to 1929 in Auvergne. University Library of Clermont-Ferrand
Travelogues of Jean Dresh 115 manuscripts written on the field between 1934 and 1990 Université Paris 8
Travelogue diaries of Jules Cloquet in Italy in 1837. Université Paris 5.
L’herbier de Paolo Boccone in 1670. University library of Paris 5.
Pierre Loti designer – A work of long duration. Alain Quella-Villéger Bruno Vercier. Bleu around 2010.
Carnets Mexicains d’Henri Cartier-Bresson – – 1934-1964. Hazan, 1995.
Travelogue diaries (1856-1857). Herman Melville, translated from English by and presentation by Philippe Jaworski. Mercure de France, 1993.
Samuel de Champlain: Travelogue diaries of Canada: A cartoon strip of the seventeenth century played by Patrick Henniquau, Bernard Mounier. Bonne Anse Editions, Micro-Media, 2007.
La collection Léo Drouyn, albums of drawings by the publishing house Entre-deux-mers: five volumes published since 1997.
Le voyage d’Arthur Young to France, 1787, 88, 89
Voyage dans les Pyrénées . Taine Hipollyte et Gustave Doré. Ed MontHélios 2002
La Terre sainte hier et aujourd’hui : lithographies et journal de David Roberts Fabio Bourbon, David Roberts. Paris: Herscher, 1997.
Project by LIDO on Voyage en Auvergne by Étienne-Jean Delécluze (1781-1863): http://lido.hypotheses.org/462
Quatre siècles de cartographie en Auvergne by Mauricette Fournier
Geoculture. La France vue par les écrivains
The architecture and heritage diary: from note-book to a book on the worksite
The « Tour d’Italie » dedicates real-life based sketching and drawing and concerns several architects, such as François Debret (1777-1850), Jean-Baptiste Ciceron Lesueur (1794-1883), Guillaume Abel Bouet (1795 – 1853), and Alexander- Dominique Denuelle (1818-1880), Louis Hippolyte Lebas (1782-1867), Pierre-Joseph Garrez (1802-1852) and Charles Garnier (1825-1898) and many others … In fact, the training of architects at the Academy of Fine Arts training requires, since 1821, completing the course of study of three years by the « Grand Tour » in Italy to compete for the Prix de Rome given by the Academy of France in Rome which controls production work from the antique. The model of the « Grand Tour » becomes unavoidable among architects who, despite their professional recognition, decide to travel to hone their skills. Today, students of architecture, heirs to this tradition, use the travelogue diary and can give their paper for a degree in architecture in this form, based on the model of the school of Fine Arts-ENSAD degree. The publishing house Alternatives edited one of the first books of architecture in 1981 under the title ‘Maisons saisons’ observation on vernacular architecture during a walking trip from Paris to Ankara by Sophie and Xavier Bohl Raverdy. Based on 2 impressions, painter and architect, in 1979 take the road by foot to Jerusalem and annotate their journey with landscape and the evolution of the architecture up to Ankara: this diary enables “ share their emotions their visions in this book of architecture where the painter mingles naturally with poetry, the houses and the seasons. « . Many architects publish their diaries: Paul Rudolph since 1974, Albert Laprade from 1981 to 1983: Sketch 07: Southern Europe and Asia Minor, Architecture of France or Architectures of the Mediterranean: through the sketches of Albert Laprade. From 1993 to 2000, a pioneering collection of diaries by Christian Dardennes was published by the publishing house Société des éditions régionales; this has the particularity of following the evolution of the major Parisian projects sites: Le Grand Louvre : dessins de chantier (1991-1993), Falcons in the nest… : a falcon factory sketchbook,, Un métro pour le 21e siècle, Le projet Météor : dessins de chantier, La maison de France télévision : dessins de chantier, Une aérogare pour l’an 2000 : Roissy-Charles-De-Gaulle 2F : dessins de chantier. In 1999, the drawings of Aldo Rossi are published : Aldo Rossi : dessins 1990-1997, album preceded by Les dessins d’Aldo Rossi, chère architecture. Moreover, carnettiste Alain Bouldouyre draws, from 1990, three years of site work in the city of Lyons which aspires to become an international metropolis and directs his diary of a promenade for a day to the worksite: Lyon : carnet de chantier (Horvath, 1993). In 2007, Gildas Chasseboeuf revisits the worksite diary Carnet de chantier dans la vallée des papeteries (Coop Breiz, 2007) to report on a rehabilitation of the industrial zones combining report on the now disappeared paper industry, the protected natural space and the centre for cultural and artistic creation. To be noted that in Lyon, ville ouverte (S. Bachès, Beaux-Arts, 2003) in which Micheline Colin has put her paintings in a panorama, articulated around the four elements (water, air, earth and fire), proposed by Régie Neyret: « Water, finally rediscovered, a source of exchange and confluence. Earth, a mix of heritage and greenery, recognized (UNESCO) as a model of continuity of urban settlement. Fire, allowing the people of Lyons to combine passions with the taste of invention. Finally Air, which abandoned the sky soot in favour of colour, light and transparency. The poetry of pencils and the pastels of Micheline Colin accompany this walk through Lyon open city”. The heritage diary has evolved from this relationship, in which authentic heritage or archival documents are inserted; the carnettiste indeed achieves both an architectural survey and an ethnographic and historical research. For example, in Marrakech: popular culture of the Medina Elzbieta and Hassan Jouad offer a diary of memories of the medina in which archival documents, old postcards and handwritten letters are inserted into the historical and geographical narrative through the medina. In this way the travelogue becomes a media to raise awareness of heritage preservation through an artistic and sensitive observation like that of Charles Chauderlot admirer of Beijing since 1997, offers two books in his thesis on monumental heritage: Pékin, ultimes regards sur la vieille cité en 2006 et La cité interdite: le dedans dévoilé en 2004. He draws and immortalises the last hutongs before their destruction and. Proving by drawing and personal observation makes the journey through the old Beijing essentially iconographical captioned by extracts from the work of novelist Lao She. Many heritage sites which figure on UNESCO’s list of protected monuments are being featured in travelogue diaries, as proposed by the architect Vincent Besançon with Angkor, carnets du Cambodge. Whether it is Conques, Vézelay, Le Mont St Michel, Notre Dame de Paris, the castles of the Loire, the national heritage is widely appreciated and valued; similarly the Loire Valley, Burgundy, Lyons, Versailles, Notre Dame de Paris, are by Michel Duvoisin, published by Equinox since 2003; Vauban’s legacy by Arnaud d’Aulnay, Dijon by Anne LeMaître (Dijon : carnet d’artiste punctuated by eight thematic routes on the cradle of the Dukes of Burgundy). Fabrice Moireau, watercolorist who is passionate about architectural heritage, resulting in les atmosphères et les lumières des hauts lieux du patrimoine : Paris, Vallée de la Loire, Venise, New York et Rome in the collection Aquarelles by the publishers Pacifique published since 2001. Be it Paris, Venice, Rome or New York, these capitals have had several hybrid travelogue diaries released to enable their discovery.
From intermedia and from transmedia: the Travelogue genre
– Communication on « The intermediality of the » Travelogue diary » genre: a « work in progress » in visual arts » at the 3rd International Conference of Intermediality Studies at the ISMAI, 6 and 7 June 2013 at the Instituto Superior da Maia (ISMAI, Porto), under the responsibility of the Centro de Estudos em Letras (CEL) and the Centro de Estudos Lingua, Comunicação e Cultura of ISMAI (CELCC).
– Communication on « The interarts travelogue, crossmedia and transmedia: story of a transmedia genre inherited from Intermediality and artialité » at the Day on the history of transmedia organized by the Laboratory Astram (EA 4673) of University of Aix-Marseille Aubagne, May 31, 2013.
From artistic works of travellers-painters as yet unreleased, the travelogue diary became a kind of an edited album, thus a sub-genre of paraliteratures  and then a mediatique genre of of mass media, nearly a kind of intermedia. Born in the Romantic era , it has come from an aesthetic interaction between the arts and the media, the result of a history of interferences and interactions between different media. The circulation in the complementarity of the media could generate a transmedial and crossed travelogue. It seems that the notion of travel, which is characteristic of this genre could be quite suitable for a journey between different media. Indeed, Nicolas Bry defines transmedia on the site called « transmedialab » from the thesis « Transmedia Storytelling » G A. Long (2007) based on the innovation of the narrative  that was developed by Henry Jenkins during his lectures in Europe during the month of May 2012.  This is the project of the digital artist Karen Guillorel  who received the prize for the digital travelogue Vidéoformes  in November 2011 at the Rendez-vous du carnet de voyage de Clermont-Ferrand for her creation Je sakura , Japan in the form of an auto-fictional cartoon that she would like to extend to transmedia which she defines as « the ability to create a huge narrative puzzle in which the various elements are narrated on several media outlets that converge and are not only stories by themselves but also participate as a larger narrative scaffolding. We can thus tell great stories, epics and express themselves through very different media. We return to the era of story-tellers thanks to transmedia « . Her work in collaboration with Yann Minh wishes to exploit the creative potential for the project « E-Migration » . But before this recent transmedial creation how did the « Travelogue » genre innovate and found its tranmédial way?
With the existence of transmedial travelogue diary, how do we trace its recent history since 2006? What is its mediatique origin? Did the works in the Travelogue diary announce its beginnings before 2006? What were the stages of its emergence? Were the installation-exhibition of graphical literature the trigger (please see Enki Bilal and Goscinny, François Schuiten and Benoît Peeters)? In what manner can we distinguish the process of innovation by analysing the production of travelogues over the past six years? Are the intermedial and interarts travelogue inclined to transmedia storytelling? How did artialité in the visual arts initiate this change? Is Transmedia the ultimate stage of « work in progress » of Intermediality? From a corpus of a dozen travelogues, we have distinguished two stages in this chronological essay on the emergence of transmedia for the travelogue: on the one hand, recognition of the « Travelogue » genre between intermediality andartiality based on the diary-works and on the other hand the development of transmedial travelogue from its mediatique circulation of the installation kind. Also after the editorial explosion of published works from 2000 to 2004, paper publishing is declining and opening up an era of media movement of a genre towards audio-visual and digital. Since 2006 transmedia is being thought about thanks to a mediatical convergence brought about by digital media.
From the digital travelogue diary to a transmedial experience: Pascale Argod, The second issue of the magazine, Échappées, revue annuelle d’art et de design – recherche – research entitled Graphic design and multimedia – uses and users in the digital age of the l’École supérieure d’art des Pyrénées Pau Tarbes, May 2014. http://recherche.esapyrenees.fr/echappees/fr/index.php
The mobility of digital creation produces a transfiguration of the relationship to space, mostly of physical movement and journey evolving into a virtual space shared between flow and interaction, sometimes to a poetic creation by imagination and by digital mobility. The travelogue challenges the territoriality linked also to another travel time between restraint and flow passage. The question of status of the work « Travelogue diary » questions the system of this art. How can one experiment rendering the journey of the artist in a digital period? From the writing to the screen, the travelogue diary seems to undergo generic and mediatic mutations: from a travel album designed and drawn and from an audio-visual documentary to a hybridity of combined media and new forms of mediati (blog, streaming, e-pub …). The hybridity of the genre makes it necessary to create a typology that can differentiate between multimedia and digital travelogue diaries based on several criteria. From a Travel Blog or « blog-reporting » to Web documentary, the transgression of boundaries between documentary and fiction would thus be seen as the « trademark » of the travelogue diary which might tend towards the concept of virtualization of journey.
See the full article on the website of the online magazine:
Graphical art in the digital travelogue diary: From the drawn image to the evolution of the genre « Travelogue diary »
Article by Pascale Argod, published in the fifth issue of the magazine Digital Interfaces, Folder name « The artistic image in the era of digital reproduction: visual semiotics and interfaces », October 2013, 337-360 (24 pages).
Summary : Generic characteristics of the Travelogue diary are blurred because it comes from a mix of artistic flow and media content, but the graphical art, the drawn and painted images would be its specificity as well as for the digital travelogues. It is an artist’s album and book, it seeks illustrations as a proof of travel or a journey, the graphical reporting, the visual notes and the sensitive field observation are used to re-write a visual narrative of the journey. In a period where the image is photographed or filmed by video recorders, how and why does graphical art become characteristic of Intermediality to the digitally oriented travelogue diary? Do they offer any additional value to media? The notion of « extime » (outside – intimate) and the plural function of drawing between arts and sciences would make a hybrid object out of it. Blogs made by Carnettistes wish to work towards the artistic recognition of their medium and highlight their talents as painters/artists. New forms of digital mediation in the genre of travelogue diary oriented towards artiality emerge: cartoon/animated travelogues, crossmedia and transmedia versions when exhibited – installation.
Diaries of society, of graphic reporting and of ethnography : field notes in arts and SHS
The ethnographic and engaged diary seeing the margins of society through « participative observation »
In the same editorial line that « In the wake of the boat-people » Noëlle Herrenschmidt, carnet de voyage precursor Albin Michel in 1993, Elsie Herberstein published a book on homelessness entitled Come to my house I live outside a trip to the homeless (Jalan Publications, 2004). For her, the book promotes « the transmission of human testimony, especially when the social drama is commonplace » is a venue in the heart of Paris, it collects the testimonies of the poor, on the model of work carried out by Jean-Louis Courtinat from 1993 to 1995 around the social documentary. The method is that of « participant observation » advocated by Malinowski and the Chicago School of Sociology of the 20s, which studies man in his urban and industrial environment. The researcher or artist immersed in social life by sharing the lifestyle of communities in order to understand them better. It takes daily notes, in the form of images or texts that foster a relationship of immediacy.The ethnologist the bottom in a group he learns the language and customs in order to transcribe as is « gross » in some way, in order to gather the material as objective as possible. In this position, the ethnographer becomes almost a member of the society he is studying and so, perhaps, he is stripped of all its a priori. In this approach can add the rendered document that conveys the feeling through the narrative, that is to say « what the viewer would feel to be a true witness of the scene. » The temptation is strong to the author to turn to photojournalism, sometimes perceived by the reader in some travel books. Damien Roudeau , which won the Grand Prix at the 2002 Report Biennial travel book, explicit effect his approach:
« The theme of my work continues to build in this space outside where I try to be, always the doubt inherent in participant observation: is what I witness what I saw, or is -I saw the margin to testify? Consider the margin is to reveal some truth zones, areas often neglected or considered as known. »
It does indeed share the lives of members of the Emmaus community rag in his book entitled From bits and pieces: one year of sharing with fellow (Word and Silence, 2006). As part of this relationship, the travel book follows the evolution of anthropology became non-exotic and thus focuses circles close ; ethnology door effect today otherness social
Hybridization and intermediality diary of intermédia reporting : the travelogue, from iconotextuel hybridization to over-hybridization
Sticking to « work hybrid » iconography refers to « the art Métis » and gives birth to shapes margins such as « travel diary » that are the crucible of intermediality: between comics, photograph album and documentary-diary filmed between graphic novel and anime adaptation, yet evoking the travelogue. Intermediality gender (out of paper) promotes the process of hypertext linked to the transposition or the resumption of another kind. To what extent the travelogue would it be a kind intermedia? This reflection derives the definition of gender intermedia and processes at work. The hybridization artialité or art is at the origin of the process of intermediality?
The birth of an artistic genre, from collages and collision between the arts, is the first step, then, after the recognition of the genre, its diffusion would take place in the media in a media phenomenon of confusion. Also the travelogue would it multimedia, inter-iconic hybrid as « the album of images » is part of cinematic storytelling, hypertext of the transposition. The hybridity of the album « Diary » has in common with the story chart, and storyboard artist book.The travel is both a « mosaic work » and « hybrid work » that tends to the combination of media images and artistic images. The travel book, in its recent developments, would form a « digital mosaic », nourished by the aesthetics of globalization and mixing artistic, cultural or media and intermediality.  Forms of hybridization, we give examples were born: in short combinations between comics, book travel, photography, reportage album, « filmed diary, » graphic novel, adventure novel, anime adaptation.
The combination of media images and artistic images of some travelogues, blogs or websites, perhaps inspired collaboration between a journalist, a photojournalist and a designer at the origin of hybrid albums like » Iraq, year zero « Arnaud de La Grange, Bertrand and Thomas Goisque Miollis or as » photographer « Guibert, Lefevre and Mercier album complemented by a DVD-document a project manager for MSF made France 3 . And the travelogue video entitled « Pocket Japan » Kraftfeld  reports twenty-one days in Japan that combines video and excerpts from news images or manga, either « incoporations filmic »  by Nathalie Roelens distinguishes four types: « cinema and photography », « » cinema and drawing « , » cinema and writing « and » cinema and painting. » The travel video online combines incorporations. Also intermediality, and multimediality hypermédialité seem inseparable and thus open the mosaic work.
The edition of the Diary, which took years of editorial standardization, seem to follow the same spirit in the quest for gender hybridity, underpinned by a marketing impact tends to distribute in any medium or media combined Type « book-CD-DVD ». And the type is exported to other media and is expanding to other genres in a notion of intermediality and blending of images. The album as comics wonder intermediality: University Summer CNBDI does she not the comic cross-media, cross-media, global media: the album unique to multiple screens  Children’s literature to the stage as on the screen ? A roundtable Biennial Book Travel Clermont-Ferrand is thinking similar to « The travel multimedia, intermedia and transmedia » . The writing on the screen, it seems generic mutate and change media .
BABIR Sémir, ROELENS Nathalie Visible. The heterogeneity of the visual: visual intermediality. PULIM, University of Limoges, in February 2008, No. 3.
BARBOZA Pierre. Internet: the global circulation of images. World Dictionary of the image. eds. Laurent Gervereau. Paris: Editions New World, 2006, p.552-555.
BARBOZA Pierre, Jean-Louis WEISSBERG. The image Cohosh: scénarisations digital course of the seminar « Action image. » L’Harmattan, 2006. (Visual fields)
BELLOUR Raymond. The between-images: photography, film, video. Paris: The difference, 1990, 2002. (Tests)
BELLOUR Raymond. The inter-frame 2: Words, images. Paris: POL, 1999.
BRAUN Carol-Ann, Annie Gentes. The question of intermediality in the works on the Internet: a legacy fluxien?. Cahiers Louis-Lumière « Territories audiovisual wandering, roaming and borders, » Fall, 2005, No. 3.
CAUNE Jean. Aesthetic communication. Paris: PUF, 1997. (What do I know? No. 3259).
CAUNE Jean. Cultural mediation: a social link building. Issues of communication, 2000.
COUCHOT Edmond, HILAIRE Norbert. Digital art: how technology comes to the world of art. Paris: Flammarion, 2003 (Champs).
COUCHOT Edmond. The critically about digital art: an introduction to the question: Interarts Paris seminar at the University of the Arts, 1999. Paris: Klincksieck, 2001
DEJASSE Edwin. Boxes very sensitive. Comics to the test of reality, coord.Alban Pierre Delannoy. Paris: L’Harmattan, 2007. (CIRCAV, No. 19)
FONTANILLE Jacques. Intermediality: the poster in the ad press. Visible PULIM, February 2008. No. 3, p. 108-109.
FROGER Marion Müller Jürgen Ernst. Intermediality and sociality: history and geography of a concept. Münster: Nodus, 2007.
GROENSTEEN Thierry. A cultural object unidentified. Paris: Editions de l’An 2, 2006 (Essays).
HIGGINS, Dick. Intermedia (written in 1965). Fluxus dixit: an anthology.Edited by Nicolas Feuillie. Paris: Presses the real 2002.
HIGGINS DICK. Something Else Press Newsletter. New York, February, 1996, No. 1.
JEANNERET Yves. The page to the screen, and affiliations between sectors.The heterogeneity of the visual, Volume 3: Intermediality visual, dir. Sémir Badir, Nathalie Roelens. Limoges: PULIM, 2008. p. 154.
LANCIEN Thierry,DELAVAUD Gilles (Pref.). Dossier: On the media … the other. MédiaMorphoses, April 2006, No. 16.
LANCIEN Thierry. On the other media. Genealogy and media identity.MédiaMorphoses, INA, A. Colin, April 2006, No. 16.
MATTELARD Tristan (Dir.). Media, migration and transnational cultures. Paris: INA De Boeck, 2007. (Media-Research)
MULLER Ernst Jürgen. To intermediality: history, positions and options of an axis of relevance. MédiaMorphoses « On the other media … », No. 16, January 2006.
MULLER Jürgen E. The intermediality, a new interdisciplinary approach: perspectives and practical example of the vision of the TV. Cinemas, vol.10, No. 2-3, 2000, p. 105 -134.
SCHUITEN François, Benoît Peeters. The adventure of the images. Of comics multimedia. Paris: Otherwise, 1996.
The promise of digital hybridization, X, work in process. Paris: Publications de la Sorbonne, 1996.
 Research conducted by Ernst Jürgen Müller in the research center intermediality Montreal, CRI: http://cri.histart.umontreal.ca/cri/
See research by Thierry Lancien, CIS Professor at the University of Bordeaux III (GRESIC-MICA) http://gresic.u-bordeaux3.fr/index.htm
 Incorporaions cinematic. Nathalie Roelens. The heterogeneity in the visual, Volume 3: Intermediality visual, dir. Sémir Badir, Nathalie Roelens, PULIM, 2008, p. 71-87.
 From July 5 to 7, 2010 in Angouleme http://www.citebd.org/spip.php?article1399
 From June 30 to July 1, 2010 in Charleville-Mezieres: http://univ2010.wordpress.com/about/
 From 19 to 21 November 2010: http://www.biennale-carnetdevoyage.com/
 written on the screen, popular literature: generic mutations, mutations media. Jacques Migozzi (Dir.). Limoges: PULIM, 2000 (literature margin).Proceedings of the conference organized in 1998 by the Centre of popular literature from the University of Limoges associated with the Centre for Research in Quebec literature.
The benefits of touristic communication through graphic arts : diary of heritage
An expressive scene through the prism of the mobility of artists and travelogues
Communication symposium cultures of travel: Mobility and requalification of places and territories, 5th Rendezvous Cultural Geography, Ethnology and Cultural Studies in Languedoc-Roussillon – University of Nîmes – June 14-16, 2012.
The phenomenon editorial travel book, visual expression of the mobility of artists and artistic culmination of a process from the trip, probably due to its advantages such as proximity media, the emotion, the return to Children and resemblance to reality. Proof of experience, testimony of hand gestures and body therefore, sketch offers a timeless impression mark the page and report its seal of authenticity. So how is development of a culture in motion graphics, album, websites and travel blogs? what is its influence on redefining media sites? What is the issue of communication and promotion of tourism? Tourist travel drives travelogues preclude travel non-standard authors carnettistes?The travel is it the medium of creative and innovative tourism, and other forms of rewarding travel experience? The aesthetics of the mediation tourism is a long standing issue since the veduta  of the seventeenth, pictorial memory of the Roman city, and the passion for postcard memories shared on the site, however, with the travelogue The notion of testimony from a trip exception, original and unique tourism stakeholders requires the provision of an « other » travel or travel-oriented Other, authentic, experiential and creative. Redefining media sites to play through an enhancement cosmetic plastic to enhance tourism experience and authentic. The advantages of this redefinition would be based on five characteristics of this approach traveler claiming to be « non-tourist » and that the trip would be a « philosophy of mobility »
– A different relationship to time and travel: stay long hours in a place to observe and make a report drawn (/ instant photography), living a journey « non-tourist ».
– An intimate journey quest: gold production notebooks is made mostly by foreign travelers passing through. The travel is it the purpose of a quest?Which one?
– A fragmented and distorted vision: the carnettiste is a Western traveler influenced by his cultural codes of foreign countries he visits and whose stay is often reduced to one month in the country’s vision is fragmented and distorted or exaggerated .
– The valuation of travel as a means of learning and authentic travel or solidarity as a means to explore the world and meet the other, away from tour operators.
– The notion of testimony and lived experience through the journey: it is indeed to accept the loss of the melee with his land and his place of origin, the scenery and the change in the benchmark time and space and to distance (see the « look away » by Claude Levi Strauss)’s own group and culture to confront other habits that could undermine its representations and opinions, even his own culture.
 Painting a detailed cityscape or panorama landscape that appeared in Flanders in the sixteenth century with Paul Bril. Flemish painting of the seventeenth century specializes in urban view as « The sight of Delft » by Vermeer.
From the audio-visual travelogue to the promotion of « The authentic »: book of héritage
A medium to enhance the « authentic » travel and tourism
On DVD, collection of ten Exploration Adventure travelogues audio-visual programs edited by Gideon intends to follow an artist who develops his travel book throughout the journey. It allows us to understand both this new way of traveling places and expressiveness through the prism of the mobility of the artist and his work gestation. According to the back cover of the DVD: « Six illustrators draw travelers and travel the world … Diaries invite us to discover a country through the eyes, sketches, drawings and watercolors, a reporter designers. Discovery off the beaten path and a personal invitation to travel with to guide the eye of the nomadic artist. » The valuation of tourist places like the city of Angkor through the eyes and the line of Bertrand Miollis wants testimony and experience travel « off the beaten path » tourist classical artist prefers to refer discover the surroundings of the site inscribed in heritage as browsing the Landmark heut to avoid clichés of the tourist. However, he mentions the city as a wonderful place to not be missed. According to the presentation of the DVD, unexpected encounters and are especially valued « Architectural Treasures of Angkor to the bustling markets of the capital Phnom Penh, illustrator Bertrand Miollis we discover some little-known facets of ‘country of smile. Cambodians have lost none of their legendary hospitality despite the hardship. » So how not to succumb to the call of the tourist mecca that also illustrates the cover of the DVD? We could then ask what is at stake prescriptive book travel? Is there a reference for the traveler? This collection stands out for its originality editorial as « story about a traveling artist » and not as a tourist guide for marketing purposes. It would join the concept of « ecotourism » or « authentic travel and tourism » which nevertheless offers strengths in marketing and personalized travel « customized » as reflected so autobiographical book of travel, artistic memory and intimate journey. The personalized travel in which the participant is involved and becomes active by his creative process, so attentive to the world, is the promise of authentic encounters given by the tour operator. Travel agencies such as Atalanta Orients travel or use it as a communication tool and offers trips to initiate the implementation of a travelogue through art workshops led by artist-carnettiste.
The ethnographic and orientalist diary of Eugene Delacroix (1798-1863) « Album in North Africa » : work of art
In vogue for Orientalism, Delacroix in 1832 for Morocco  since it is named official painter in the diplomatic delegation of Charles de Mornay. Four books in seven Delacroix reached us : three are in the Musée du Louvre and the Museum of Condé in Chantilly, among them Album of Croze in 1855 and Charente Album in 1822. Morocco offers Delacroix ethnographic subjects are the object of his books , first around Tangier inspired watercolor « The Jewish Bride of Tangier, » then after thirteen days of Meknes and then crossing the Andalusia and Oran, Algiers that inspired « Women of Algiers in their Apartment » and finally Marrakech. This book brings together studies « which refers to the seventeenth century a graphical representation constituting an exercise test: general preparation or detail of the work as a whole, research graphic composition or achievements details »  . The two double pages sketches « Album of North Africa »  which represent the one hand a « crowd of Moroccans before a great door crowded court and prison door Jew and Arab horse to spring « and the other » landscape with mosque in the background and characters « deserve to be analyzed by their original composition where the handwritten notes, sketches, characters, different plans and details are juxtaposed giving and depth and a particular reading of the image. The first example provides a breakdown of page views in three successive general plan to wander outside to inside the medina, the more confused second example offers two main views embellished details and viewing angles smaller. As a camera, Delacroix guide his brush which is the culmination of his eyes staring. He argues, stops on that aspect, back, discovered wandering … are visual notes studying framing, composition, elements to bring together all the drawings in a painting workshop in rear. It seems at times that the book says « storyboard » , both the concept of displacement and angle of view is important, sometimes so close to the « traveling ». These books reflect a movement, a pilgrimage and an ethnographic approach that define the « carnet de voyage » as a testimony chewed on a bright background and experience exotic experienced as a trace and ethnographic encounters. The ethnographic point of view, scenes of daily life are transcribed with all the details, they deal with objects, utensils, decorative items, costumes, jewelry … watercolor studies prior to the completion of the table » Women of Algiers « are numerous and are annotated with captions specifying colors and materials that can not appear on a simple sketch on the spot. On some pages, such as « Arab horsemen, of trees and sea in the background » , the text manuscript fits the drawing, overlays, blends and in the composition of the image. In line with the Brothers Goncourt, it is a travelogue where the image space that meets the writing to fit into a plastic holding immediacy, speed of execution, the immediacy of emotion and gaze. In this example, the work of Delacroix is paradoxically a completed version such as « travel diary » where neither the image nor the text prevail: they combine a course in space, moving the trip is visible in the composition of page as well as the time before and transcribed Delacroix is the creator of « travel diary » he repeated in a frenzy of discovery, research and study plastic generated by the orientalist quest impressions, sensations andemotions due to Elsewhere through an ethnographic approach.
Summary of features such as « kind Diary » launched by Delacroix :
– Wandering over journey through the landscape of the general plan specific plan (portraits meetings).
– Sketches on the spot or rough technique: speed and instantaneous experience (as a kind of camera in hand).
– Insert text in the image: visual notes accompanied by annotations on the colors, textures, light ….
– A Study Notebook artistic and visual notes to memory in order to achieve a pregnancy of the pictorial work is composed and subsequently bringing together a synthesis of many elements of the trip.
– Atmosphere of « picturesque » saved as « worthy of being painted » with ethnographic elements annotated in order to achieve the masterpiece painting workshop at a later return trip.
– Notes written on visual details: colors, decoration details, reasons, information on the sketch book is a preparatory drawing.
– The travel allows the art historian to understand the creative act of painting masterpiece: primary source, a kind of rough draft of the artist who created basically the act of inspiration, genesis of the artwork.
The ethnologist’s diary by Paul Gauguin (1848-1903)
After his essays of diaries in Britanny  and influenced by journal of Delacroix, Gauguin left to a new « Orient », « topos » of Orientalist literature, towards the Pacific Ocean. From 1892 at Tahiti, the painter searched « The old Mahori cult » which had totally disappeared under the influence of colonization and this from reading ‘ The travel to the islands of the Big Ocean.  It illustrates the watercolor story of the genesis of the world by comparing Maori Christian worship revealing his passion for the comparative history of religions. It compiles sketches of decorative arts natives or tiki sculptures, tattoos and patterns. Gauguin wrote several travel books including Noa Noa: Voyage to Tahiti  is the most interesting because it looks like a « watercolor novel » which describes the « New Cythera » or « island paradise » in his imaginary geography [ 11] and its return to nature
« The civilization goes gradually from me. Beginning to think I just have little hatred for my neighbor – better to love. I have all the free enjoyment of life, animal and human. escapes I fake, I enter in nature . »
There is an indictment against the European culture and society and advocacy Polynesian traditions. Charles Morice, Symbolist writer, contributes to rewrite his collection of notes and decided to publish it in 1901. This first version is completed with Gauguin over the remaining two years until 1903 by a second composed of all the graphic processes that juxtaposed Victor Segalen discovers upon his arrival in Papeete shortly after his death:
« The text, which is pale brown ink complete harmony with the paper is browned here and there interrupted watercolors – mostly washed separate paper, cut, pasted. Ago traces of everything that was to this time the master of life dealing with the existence ruthless tropics – splendor of light, great effort and surrender. Noa Noa « is indeed a manuscript leather with a watercolor gouache on flat front which comprises one hundred to four Eighty-two sheets which are glued on fifty-nine watercolors and colored wood with eighteen black wood, as well as prints, photographs and documents of all kinds sometimes accompanying text written in black ink, sometimes in blue ink (1891-1893) « according to the inventory of the Department of Graphic Arts at the Louvre. 
According to Farid Abdelouahad :
« Mixing genres and techniques, burst timing and usage rules, plenty of styles, contrasts and offsets: the creative spontaneity of Gauguin led to a revolution in visual perception. Possibilities offered by new technologies image, photography and cinema, are not unrelated to his business, which opens the way for a new field of fine arts which can express the freedom of collage heterogeneous . »
The travel was born contemporary meet anthropology, ethnology and art combined and mixed race. Gauguin himself living the phenomenon of mixing through a form of acculturation that reveals its creativity, the book is an autobiographical travel to a turned ethnological research helped his meeting with the young Tahitian with whom he lives in Mataiea. Through a process of ethnologist, he uses all the graphic arts and cultural objects which he immersed himself. Its originality marked the birth of contemporary travel book as literary pictorial or graphic. Note that Delacroix is also a painter book illustrator artist most notably for « Faust » by Goethe in 1828.
 Delacroix, a journey of Morocco, Andalusia, Algeria. Maurice Arama. No place, 2006.
Delacroix and Morocco. Guy Dumur. Hersher, 1988. (Artsite places).
 The manuscript of « Album of trip to Spain, Morocco and Algeria » by Eugène Delacroix is preserved in the library of the Château de Chantilly.
 The journal of Delacroix. Eugène Delacroix. Verbally limited, Louvre Museum, 2005 (1-disc compact).
Anthology of the Journal. Eugène Delacroix. Thousand and One Nights, 2002 (The small collection, No. 389)
Travel to Morocco watercolors. Delacroix. Alain Daguerre Hureaux. Image Library, 2000.
Memories of a trip to Morocco. Eugène Delacroix. Gallimard, 1999 (art and artists).
 See Article: Study. In Dictionary of the image. Dir. Françoise Juhel. Coord.Vanoye.Vuibert Francis, 2006.
 page 34 and details from 35 to 37 and page 54 and details of 55-57 selected reproductions Morocco Travel: watercolors. Delacroix. Alain Daguerre Hureaux. Image Library, 2000.
 See Part 3 in 1.3.1. The « comic literature » (« graphic literature ») or narration image: iconotextuel album, the graphic novel or « graphic novel », or storyboard artist book?
 On page 48 details and 49 reproductions of selected travel in Morocco watercolors. Delacroix. Alain Daguerre Hureaux. Image Library, 2000.
 Book of Britain. Paul Gauguin. Before and after. Papeete, 2002.
It consists of notes synthetic inspired his paintings from 1884 to 1887.
 Published in 1837 and written by former consul Oceania Jacques-Antoine Moerenhout.
 It should contain poems of Symbolist poet Charles Morice (1860-1919).
 Géograhies Gauguin. Jean-François Staszack. Breal, 2003.
Gauguin traveler: Peru to the Marquesas Islands. Jean-François Staszack.Breal, 2003. Geo Solar, 2006 (culture).
 Noa Noa. Paul Gauguin. Before and after. Papeete, 2001.
Book Tahiti. Paul Gauguin. Before and after. Papeete, 2001.
Writer Gauguin: Noa Noa, Various things, ancient cult mahorie. Paul Gauguin. RMN, 2003 (CD) http://arts-graphiques.louvre.fr/fo/visite?srv=mtr
 Writer and historian of art and photography, Curator and designer who has published several anthologies of travel journals and books on photography since 1998.
 These wonderful travel books. Farid Abdelouhab. Reader’s Digest, 2004.p. 116.
The travelogue, from artistic intentions to intermediality : creating a reporting diary using various intermedia
« Le carnet de voyage, de l’artialité vers l’intermédialité », Revue Proteus, Cahiers des théories de l’art, n°1, « Le médium », janvier 2011, p. 27-35 (8 pages).
The fluxion word « Intermedia »  inherited from Dick Higgins introduced the issue of hybridity, central multimedia artistic practice since it is inseparable from the collage, the readymade and performance. Intermediality can ask the question of emerging media and the emergence of new forms of art or « intermedia art. » Designating the borrowing strategies of media and emerging art it would be the initial phase of a new art related to new media as it is in the « between » (the interface, the interactivity, interconnection, intersubjectivity, the interdiscipline the incorporeity) . The travel  illustrate this collision or collusion between the arts as recalled Jürgen E. Müller is the origin of the concept of « intermediality » . The travel was born in the Romantic era and is the result of an interaction between the aesthetic arts and media, the result of a history of interference and interaction between different media. It would be a kind and intermedia hybrid. Of the artistic work of painters travelers unreleased, the travel book has become a kind of album edited, a sub-genre of popular literature or paralittératures , called minor genres and simultaneously broadcast mass studied by Gabriel Thoveron, including albums, but also several common media. It tends now to become a kind of mass media media, see intermedia. Rick Altman defines intermediality as a transitory state where emerging media, become, remains a prisoner or time dependent media in place that is competing.  The travel media whose identity is uncertain, not yet stabilized and institutionalized would seem a relevant illustration of intermediality  defined by Thierry Lancien from a genealogy of media . The writing on the screen, it seems generic mutate and change media . In addition, the travelogue can be a « evolutionary creation » or « Work in Progress » that travel and movement develop: the path is perceived as an artistic performance, probably inherited from the Fluxus movement which wants to abolish the borders between the viewer and the work of art, between art and life flow and promotes the free exchange between the different artistic practices. It therefore tends to installation which promotes links between object space and architectural space for the 3-D work is a process in which the audience participates. In sum, it becomes an « environment » and a « Happening » or « performance » (the total work of art, dreamed by Vanguards ). The movement was established by designers designers pioneers who migrated to the comic « opera pictorial » of carnettistes who initiated decompartmentalisation art book travel to the artistic nomadism. Biennial Book Travel Clermont-Ferrand tends to become a multimedia and multi-arts festival to intermediality which illustrates the circulation such as « travel diary » from one medium to another, especially to hypermedia with vlogging on the web.
 Dick Higgins, Something Else Press Newsletter, New York, February, 1996, No. 1.
 See the study day « Aesthetic Intermedia: historical approaches, » June 10, 2006, at the Théâtre Paris Villette. Day co-hosted by Annie Gentes (ENST) and Isabelle Rieusset-Lemarie (MECSI, CHCSQ, UVSQ) in relation Guffet Patrick (Director of Theatre Paris-Villette).
Continuation of the article: « The question of intermediality in the works on the Internet: a legacy fluxien? » Carol-Ann Braun, Annie Gentes, Les Cahiers Louis Lumière, No. 3, « Territories audiovisual wandering, roaming and borders « , Fall, 2005.
 See the thesis in CIS: The travel: historical and semiotic approaches. Pascale Argod, under the direction of Professor M. Lancien. Université Michel de Montaigne – Bordeaux III, 10 December 2010. (790 corpus of 800 pages and titles).
 IRC Research Centre intermediality of the University of Montreal, Quebec. http://cri.histart.umontreal.ca/cri/fr/vitrine/default.asp
 Studied by Gabriel Thoveron: Two Centuries of paralittératures reading, sociology, history. Flight. 2, 1895-1995. Gabriel Thoveron. Liège: Ed’s CEFAL, 2008. (Library paralittératures)
 intermediality to media: film, media, the advent of sound. Rick Altman. Cinemas Film Studies Journal, Vol 10, No. 1, Fall 1999.