Annuaire des sites web ou blogs des carnettistes européens du Rendez-vous du carnet de voyage de Clermont-Ferrand : 160 carnettistes “Blogueurs” exposants au 10e, 11e, 12e et 13e Rendez-vous du carnet de voyage de Clermont-Ferrand (2009 à 2012) : Blogs de carnettistes 2009-2012 P. Argod
Creation of travelogues : a variety of educational approaches
“Creations of travel diaries: a variety of educational approaches,” Pascale Argod, InterCDI, No. 228, November-December 2010, p. 64-69 (6 pages).
Article InterCDI, n°228, nov-december 2010
Projects travelogues we mounted the last three years (2007-2010) are at once documentary and artistic, between media information and artwork on the editorial model of its kind that oscillates tourist guide artist’s book [1]. In continuation of actions in the Auvergne Academy since 2001 (Price and day students training and internship PAF), and we experimented with some colleagues this tool teachers-librarians [2] Bordeaux under different educational fields such as intercultural education and citizenship and awareness of heritage and environment and sustainable development.
1. Artist’s book and travel as initiatory journey and professional (2008-2009)
2. A book of European heritage to foster European exchange Comenius and Leonardo (2009-2010)
3. A family history book for the integration of migrants in the project “Interculturalités and live together” (2009-2010)
4. An intercultural exchange between the English and Indians to understand the other (2007-2008)
5. A travel digital multimedia language learning (2008-2010)
Meet the arts and sciences, the travel book seems creative teaching tool that combines the documentary approach to the artistic process to forge a spirit of innovation and a sensitive eye on the world. Understand their environment, interact with the other, understand another culture, his identity and his roots are the objectives of the book medium initiatory journey that becomes the world and elsewhere. This diversity of educational approaches is the pedagogical interest. As the sculptor Rodin “I do not create, I see, because I know I can create” a good maxim for the creative process of the travelogue. If the trip as youth, the book would be the passport as an introduction to the meeting of cultural difference and the reflection on the perception of Elsewhere [1].
“European Label of Languages” 2011 for the travelogue intermedia
The “European Language Label” is a European initiative to develop innovative projects in the field of teaching and learning languages. European Language labels are presented at an annual competition organized by the European Commission and national agencies in all 33 countries of Europe education.
At the 10th anniversary of the European Language Label official presentation of trophies Expolangues 2012 in Paris Friday, February 3, 10 H 15 H : Expolangues 2012
Winning project: The travel intermedia (of the book web-site blog or audio-visual), an educational tool, creative and artistic language learning and intercultural education in the kindergarten to university (Pascale Argod, ESRP teacher at the University Bordeaux 4).
The travel and reportage, intermedia, album internet, audio-visual film, is an educational tool that encourages creative and reflective learning of languages and intercultural education from kindergarten to university through personal expression and practice of the visual arts from a trade or international mobility. In the form of a blog or vblog is a tool for communication and collaboration. A national training course for teachers is organized by the CRDP d’Auvergne and the iFav to accompany the student’s book Price voyage._Deux days are devoted to national training of teachers and a day is for the reception of schools that participated in the Student Book Price Travel (1100 students) and the two-day weekends are aimed at the general public. In addition, ten carnettistes European (Italian, Spanish, French, Belgians, Scandinavians ….) are invited each year to exchange and dissemination of such original in Europe. http://www.rendezvous-carnetdevoyage.com/page-presentation–2
The 10th anniversary Student Book Award Travel :
Several awards are presented each year, including the “Price book Student Travel” (a price level of education from kindergarten to university) and the price of the school of architecture. http://ilfautallervoir.free.fr/
Student winners of the 12th prize book travel CRDP d’Auvergne: 1100 participating students, 41 schools out of which 8 Auvergne, openness to international trade with with Spain, 236 books and papers presented at the competition 15 digital books . http://crdp.ac-clermont.fr/crdp/LireArticle-871-une-crdp.htm
Project 2012: Wish that the travelogue can enroll in international mobility programs and European it is a tool of capitalization and evaluation for project staff as well as professional but also that becomes an added value for the European programs. Two special mentions price student travel book project are: “Foreign languages” and “Europe”.
Institution: iFav Association should go is the organizer of the “Rendez-vous du carnet de voyage” in Clermont-Ferrand (Jean-Pierre Frachon, President, and Mr. Michelel Francillon, head of the organization).
With the support of the CRDP d’Auvergne (SCEREN – CNDP Ministry of Education) for the implementation of the instructional day for teachers and schools (Gilbert Gamba, Director, and Ms Delphine Duhamel, Mission Arts and Culture).
The art of a travelogue producer from the field to the paint-book : from a rough sketch to an editorial distribution
The travel is a function of travel view of the traveler and artist-made artistic journey that is moving and requires an artistic context-specific. Beyond the outlook on the country and the contribution to the knowledge of a culture, the travel book seems to summarize his iconographic rendering, that a movement in space, or even a look travel, defined as an initiatory journey to the Other and to the difference. Thus, we might ask if the travelogue can be regarded as a creation of the aesthetic to translate “the poetics of travel” and it can be considered as the indicator of symbolic values of a civilization to communicate a vision projected. Indeed, according to Ernst Gombrich [1]: “The painter does not fix what he sees but what he knows of reality” (look social and cultural) and “art does not exist only artists exist, it must pass through culture to discover the Beautiful. ” In addition, the blending artistic image reflects the vision of mixed trip, the collage is the most common technique, ie an artistic composition obtained by the juxtaposition of heterogeneous elements by their source or nature. It serves hybridity book travel cross product of two elements of different genus and species. But the travelogue is a vision of the wandering elsewhere and among other events in arts or artistic achievements. [2] Complex concepts, which also oscillate between imagined, planned, fantasized, and the physical movement or the intellectual, are conducive to artistic creation fueled by all forms of travel. Contemporary artists are rediscovering it does with the paint on the ground, the outdoor art advocated by English watercolor and impressionist? In fact, beyond the introduction of natural elements in the creation, nature itself is the object of inspiration and interventions and in the landscape. In fact, more than the trip itself, exoticism would bring creativity because the confrontation with other landmarks and cultural changes the way of thinking and the gaze of the artist. He transcribed as worldview, his eyes shocked the world, the perception of upheaval and change inside. The artist Miquel Barcelo majorquais internationally acclaimed [3], makes installation traveler, a “canoe-shop” at the heart of its creation to discover the Niger River that rises to the north-east of thousand four hundred kilometers. His studio traveler allows him to realize many travelogues, who signed his work. However, more than a travel book, it is the journey that becomes a work of art as the canoe workshop is the artistic medium of travel.
To enter the time and transform the moment of the sketch (during the journey) the rough is essential to the realization of the travel diary which recounts a journey through. Trained technical rough, most carnettistes began as “roughman” Anglicism which defines man sketch, virtuoso drawing communication agency or advertising. The rough seems a prerequisite professional as it transcribes the visual effect of an advertising campaign on drawing boards or boards with sketches intended to propose a project to the client. If the agency is selected by the latter, the creative work uses “rough in” campaign to draw and change style depending on the product and ideas of artistic director. Most carnettistes as Cathy Beauvallet, Elsie Herberstein Damien Roudeau, Troub’s, Simon, for example, daily use of sketchbooks, sketches or studies that continually exercise this ability and take note graphically or visually ideas.
Both times, the land and that the workshop can complement but also excluded. Some carnettistes, favoring rough journey, avoid to touch them later to create and preserve the value of testimony dear to their ethics traveler and artist who saw the trip as the process of the artistic process. For them, the art of travel diary exercised travel time and ends with him as Cathy Beauvallet, Jean-Loup Eve, Elsie Herberstein Giancarlo Iliprandi, Philippe Lorin, Reno Marca, Bertrand De Miollis, Damien Roudeau … Others prefer to return to their creation workshop to extend the benefits of the addition with the critical distance, the filter of memory and maturity of change and metamorphosis journey the artist’s creativity: Stefano Faravelli, Gildas Flahault, Cloe Fontaine, Geneviève Hue Ladame Sophie, Simon, Gwenaëlle Trolez … Their creative work is accompanied by readings, research, reflection to deepen travelers eyes, the eyes of the artist in the extension of the the traveler. The artist offers deferred expression then his impressions of travel. For them, two times are needed: the capture of the real and the externality on the trip, then, that the impregnation and interiority workshop then provides the artwork. Both approaches seem to open its kind on the two different concepts of time and the gestation of the work : the immediacy and duration. Are the first in the line of reporters, designers and graphic reportage but also photographers, they believe that the perception and rendering need to be closer to the authenticity of the experience, while the latter feed heritage of painters and artists who transform their thoughts and their feelings in order to feel closer to the sincerity of their creation and their artistic interpretation from reality.
[1] Researcher art historian and Director of the Warburg Institute in London in 1959, he held the chair of History of the Classical Tradition at the University of London in 1959. He was knighted in 1972 and received the Order of Merit in 1988 and numerous international awards and accolades. His book “History of Art” was published by Flammarion in 1986 and is the author of a dozen books of art history translated into French.
[2] Visions of elsewhere. Dir. Dominique Berthet. L’Harmattan, 2009; Figures wandering. Dir. Dominique Berthet. L’Harmattan, 2007.
[3] His works exhibited in various French museums (CAPC in Bordeaux, Musée des Arts Décoratifs in Paris, Centre Pompidou, Musée du Jeu de Paume, Maeght Foundation in Saint-Paul-de-Vence) and in many other galleries and American and European museums.
Subject of “Cultural Studies”: The genre in various media and artistic circulation
The travelogue provokes many questions that have become more complex over its history since its status has evolved in several ways: the service support of the painter to the artwork, the tool for the illustration , diffusion and extension of knowledge on the other hand, then the original cultural product published recently in the book to the digital medium and to the performance arts (one turns to the information and other towards the arts and creation). Cultural object paralittératures and “Cultural Studies” at the intersection of graphic arts and anthropology, the history of pictorial art to better define the genre as a minor art, editorial and media related to the development of watercolor and travel training and the craze for tourism, exotic illustration and comics reportage, and recently, interest in the blog and audio-visual reportage. The ambivalence between art and documentary supports the difficulty to define the genre in the world of flow, circulation and mixing media, even “media confusion.”
The thesis is an attempt to define the genre “travel diary” album as a cross hybrid of documentary and book artist from an edition of the panorama (800 corpus securities) and research historical borrowings, crossings and interactions in the arts and sciences which are at the origin of mixing genres. The objectives of the research are essentially characterize the travelogue and propose typologies of research in book art book or tour guide. Interbreeding between reportage and artistic graphics, vision and exotic ethnography, it undergoes hybridization, a circulation of artistic and intermediality, semiological issues of contemporary travel book that seem conducive to communicative and educational development around the notion of intercultural mediation of otherness (pragmatic).
The thesis is therefore built according to a chronology into three parts, the genesis of the genre in its creation and editing its current versions, with examples of studies intended to identify the gender, but to circumscribe the limits also margins that define the hybridization process of the album. The history of pictorial art to better define the genre as a minor art, editorial and media related to the development of watercolor and travel training and the craze for tourism, exotic illustration and comics reportage and recent interest in the blog and audio-visual reportage. Historical research proved fruitful avenues to explore in graphic art at the service of science, modeled on the journal or book naturalist, and the mutation of travel book, intimate and personal the artist, to the status of a work of art.
From the main axis of the album and then the still image graphic art, defined as sketch or illustration, different notions are discussed in order to qualify for the dialectical image “graphic story” or drawn on the spot by two aspects of documentary objectivity and subjectivity of the artist’s book. Various opposing concepts were indeed discussed that seem to highlight the central concept of objectivity and subjectivity worldview: ethnography and the exotic, authentic and picturesque, reportage and artistic rendering graphic arts, documentary and book artist, turned to the other testimony and autobiography facing me.
Thought was given, on the one hand rendering iconographic-fragment, loan, instant, rough, unfinished, photomontage, drawing sketched, sketches, … and on the other hand, the message, and also ‘Other picturesque, exotic, authentic, reportage, documentary, ethnographic, educational, mythical, stereotypical … – and the artistic work in its entirety, which opens on three concepts:
– Work aesthetic and sensory perception, meaning, artistic vision, graphics rendering, emotions …
– Work mosaic juxtaposition, combination, superposition, collage, collage art, cut-up;
– Implement the hybrid fusion or mixture of arts, movement practices, circulation forms, deconstruction-reconstruction-deconstruction, transfer …
Mosaic art work and mestizos, the travelogue would report “graphic story” (or drawn), from paper to digital or media type “book” to the website, a mixture of genres, from sticking images, the blending of art and the meeting of two cultures, fields of study of semiotics. The search for a typology of such editorial reveals limits and generic characteristics since it is unclear from a hybridization, an artistic movement (artialité) and media (intermedia). The contemporary definition of travel diary is indeed complex because it highlights two notions of “intermediality” transpose traffic and media-and “intercultural” input-cultural, cultural hybridity, transcultural mediation-that make an object Communication attractive, particularly for training and education. Vision intercultural encounter between two cultures, that of the traveler and the object (native), complicates the definition of travel diary which oscillates between artistic look, exotic ethnography and extension elsewhere. Anthropological factors are polymorphic visions on the trip, they are three registers: the confrontation of imagination and myth to reality, the style of travel and portrait carnettiste traveler. Worldview and intercultural unfolds the exotic ethnography, according to the definitions of these two concepts. On the interpretation of travelogues and their images, it relates to the semiotics of the image that offers multiple avenues of research.
A range of travelogues, different reports by travelers, of cultural heritage and and evolution
Extract from the second part of doctoral thesis entitled “The travel reporting Journal : historical and semiotic approaches”. Pascale Argod (790 pages and corpus of 800 titles) under the direction of Professor M. Lancien, University Michel de Montaigne-Bordeaux 3, the research team GRESIC-MICA (44 EA 26), carried out in four years from 2005 to 2009 (marked “Very honorable with congratulations from a unanimous jury).
At the crossroads of artistic influences, graphic arts visual arts, but also the types of albums or illustrated books, book travel has been a real passion from both artists illustrators readers in search of news. It offers a range of views on the world and the Other that reveals the richness and variety of this medium, there appeared more than twenty years in the publishing world. This album oscillates between the tour guide and art book and seeks an original in the world of books and publishing. Through an inventory of approximately six hundred travel books, not listed as such in the database, and over nine years of Biennale, I could understand the thematic scope of the topics covered by the book’s journey ‘long journey so interested in that trip soon. Characteristics could be identified, one hand on the looks on the environment and the world and also placing it in the genre of graphic reportage.
Through geography both experienced and perceived radiation thematic book travel is extended: the look on a country, the inventory of nature, the media coverage of scientific expeditions, the national memory architecture and archeology, promotion of regional tourism. Whatever the style of travel, maritime, polar expedition, long journey, experience in the field and study space are the foundations of the work of a geographer or anthropologist who studies carnettiste the space through a geography experienced and perceived over cultural diversity. Designers naturalists also base their science on field observation illustrated taking stock of nature in order to raise awareness of biodiversity conservation. The naturalist illustrators carnettistes travel to the quest for natural beauty and publish their books in naturalistic collections that have emerged in the edition of 1991. Animal naturalists have a preference for Southern Africa and ornithology specialty is more prevalent thanks to my observation. Media coverage of scientific expeditions research is done through the online diary which interact with the arts and sciences that broadcast shipments cultural, anthropological and adventure expeditions and environmental children. Some travelogues contemporary look to the architecture and archeology to educate readers heritage through readings architects. The sketch book of architects in the form of a book of ideas, projects and rough, sometimes in the form of a book of experimental and graphics. The famous books Le Corbusier, about his trip East to Constantinople, the projects of young architects architecture graduates, carnet de voyage seems to have emulated. In fact, some are architects and illustrators carnettistes value including the urban heritage. As archaeologists, their book search may be a travelogue, as is the case for JC Golvin. Heritage declined as a guide, and it enhances regional tourism marketing and offers a clear interest in the world of publishing. Moreover, the way of Saint-Jacques de Compostela, world heritage of mankind, which is in the book Pilgrim parentage, has a passion editorial.
Palette theme of “graphic story” travel comes in all forms: war diary, photo album, BD-reportage, sketchbook press, book report, book company, mission or shipping. Thus, how to characterize each of them? The names do we travel journal or book report? Each of the books has its own language, even its own iconographic medium: drawing, photography, vignette and phylactery, cartoon … What are the common points with the travel diary? They are sub-genres of travel diary? Chronicles, diaries and war diaries, inspired by the book because of family history, are indeed limits such as “travel diary” since Renefer, Otto Dix and Mathurin Méheut leave the poignant testimony of the Trench warfare, which oscillates between chronic and illustrated diary. Law Lariston under the Occupation, and deported books offer another vision of horror. Moreover, how to locate the photo album from the travel book travel? It is very difficult to the extent that, for the price of the book Biennale of Clermont-Ferrand, this type of album has not been accepted as opposed to those with mixed media iconography. However, the Kodak Award organized by The Society of French explorers who have launched the term “Travelogue” in 1969. Trend “Scrapbooking” for customizing the album, she fits in the tradition of the travel diary? How to describe the plastic work of Peter Beard who introduced his “diary” in France at an exhibition in 1996 at the National Centre of Photography? Identified as the precursor of the Diary with his art collage, photography, photomontage, Peter Beard book yet an original vision of the genre. Painters photographers such as Tony Soulie, travelers and photographers, as Sylvain Tesson, find their way in the artistic style travel diary? Other photographers prefer to speak with a watercolorist and offer an artist’s book that crosses two eyes. The story is illustrated through graphic comics and through the travelogue. Indeed, the BD-story is launched before the travel book, in the early 80s, and recently rediscovered with the retrospective exhibition “BD Reporters” at Beaubourg. Most designers reporters lived from 1990 to 2000, a decade of success that paved the way to travel. Comics news and social reporting has gained recognition from the Angoulême festival in 2004 France Info Award of comics and news reporting. As for drawing press, it allows a critical look at the cultural difference Cabu, Patrick Chappatte Wolinsky and enhance a dash of humor. The travel “story”, signed by journalists emphasize the geopolitical and burning, especially in the Middle East, and denounce the contemporary conflicts. The value of the testimony and the violence brought by the drawing then gives a special dimension to the books reminiscent of war diaries. Books engaged social reportage, mission or shipping and are ethnographic or sociological use portraiture to promote the encounter with the other. Their size can be educational if they promote the discovery of political institutions or humanitarian missions such as “books mission.” Of documentary art book, book travel, deploying its range of tones, opens to a plural, multifaceted vision of the world and elsewhere. Its casual and formal freedom of expression blow a wind of creativity on the world of publishing.
Online research for Journals “Reporting travel journal” of Pascale Argod, 2012 (Foreword : Intermediality – interculturalités – médiation – heritage).
I would like to extend my PhD thesis in the science of information – communication, done from the year 2005 to 2009 at the University Michel de Montaigne Bordeaux III, successfully achieved with the mention ‘Very High Honors and Congratulations (the jury’s decision were unanimous) on the subject “The Traveller’s Journal’, a historical and semiotic approaches (790 pages and a corpus of 800 titles)
I bring new thinking on the subject “Traveller’s journal – reporting” to be recognized by the research community as a cultural object of “Cultural Studies” and “Visual Studies”. It is to disseminate, develop and share my thoughts, assumptions and scientific publications current and future approaches to identify the scientific object that could be divided into six categories: cultural object and visual, book report intermedia, book Intercultural and mobility, field notebook, book heritage. I intend to effect a network of researchers and teachers to develop this medium, particularly in the context of international mobility.
The subject of “Cultural Studies” and “Visual Studies” the hybrid genre of “traveller’s diary/journal – reporting” comes from a hybridization, artistic circulation (artialité) and media (intermedia) evolving into new audio media devices -visual, multimedia and digital limit. In the context of international mobility, it is a tool for intercultural mediation, intercultural education and language learning. Book survey and field surveys, it is also a reflective tool humanities, geography to anthropology but also an object of historical research. The book heritage intermedia that inventories the natural, architectural, archaeological and historical effect contributes to the mediation tourism.
Carnets de voyage édités sur les Départements et Territoires français d’Outre-Mer :
Océan Indien :
Cap sur Madagascar, la Réunion et Maurice : carnets de voyage des paquebots de la ligne de l’océan Indien. Alban, 2008.
Carnet de voyage île de La Réunion. Media Nova, 2008. (+DVD).
CHARDON Samuel, ROUSSEL Céline. Carnets de la Réunion et de Maurice. Bilom : Oiseau-Porte Plume, 2006
GASTON. Balades à Mayotte. Orphie, 2006.
LOUSTAL. Carnets de voyage : 2003-2005. Seuil, 2005.
LACOSTE Quentin. Road-trip à l’île Maurice : derrière la carte postale. carnets de voyage de Quentin Lacoste. Magellan & Cie, 2005 (Coups de crayon).
WITSCHGER Anne-Laure. Voyage à la Réunion. Seuil Jeunesse, 2004.
WEIJBURG Rolf, CAZIER Catherine. Mes carnets des îles. Flammarion, 2002.
Antilles :
LAMAZOU Titouan, LAURENON Gilles, Voyage aux pays du rhum. Paris : Cherche Midi, 2011.
GASTON. Balade en Martinique. Chevagny-sur-Guye (Saône-et-Loire) : Orphie, 2008.
CHARDON Samuel, ROUSEL Céline. Carnet de Guadeloupe et Dominique. Billom (Puy-de-Dôme) : Oiseau Porte-Plume, 2003.
LADAME Sophie. CHABAUD Catherine (Préface). Carnets d’éole vers les Caraïbes. Pau : Cacimbo, 2002.
Océan Pacifique :
VERDIER Ghislaine, PANTZ Isabelle. Nouméa, presque une île. Nouméa : Solaris, 2010.
LEBEGUE Sébastien. Ka’ oha nui : carnet de voyage aux îles Marquises. Au vent des îles, 2010.
COOK James. Les trois voyages du capitaine Cook autour du monde. Découvrance, 2008.
MENET Véronique. Promenade dans les jardins de Nouméa. Nouméa : grains de sable, 2007.
DESCHAMPS Emmanuel, traduit de l’anglais par Anne Rocca. Tahiti : carnet de croquis Sketchbook. Volume 2. Papetoaï-Moorea : Le Motu, 2006.
JULIEN Jacqueline, direction éditoriale Suzanne Bastien et Jacques Le Maître. Robert Tatin d’Avesnières : peintre de l’Océanie : Papeete, Nouméa, Port-Vila, Tahiti. Nouméa, Grain de sable, 2005.
AGNIEL Dominique, BEUZEN Philippe. Tahiti, Marquises, voyage sur les pas de Gauguin. Paris : Garde-temps, 2003.
VILLIERME Marie-Hélène. Visages de Polynésie, Faces of Polynesia : Visages de Polynésie, 1997.
Enfants jouant sur la plage, Maurice Denis, mine de plomb et aquarelle, 1911-1912, AGAGP.
Ouvrage collectif de la revue culturelle des Pays de Loire :
“Voyager. Et au cours de son voyage, écrire, ou dessiner, ou les deux. Garder une trace de ses prégrinations. Pour en tirer quoi ? Un rapport administratif, une peinture, un roman, des portraits d’oiseaux de paradis, un objet d’art contemporain atypique…
Le “carnet de voyage” à la fois livre de bord et aide-mémoire, est un genre littéraire et artistique difficile à cerner : il est d’emblée ambigu car il a recours à deux médius très différents, l’écrit et le figuré. Le premier se taille souvent la part du lion, mais les artistes c’est le contraire…
Ce numéro spécial de 303 propose en filigrane une définition par petites touches du carnet de voyage, depuis le “Grand Tour” des jeunes gens fortunés du XVIIIe siècle jusqu’aux récentes pérégrinations de Laurent Tixador et Abraham Poincheval, en passant par Girodet, Signac, la photographie orientaliste, Victor Hugo et Paul Gauguin…
Où l’on voit que ce genre multiforme, riche d’un passé que l’on peut faire remonter aux cabinets de curiosités du XVIIe siècle, est aussi promis à un bel avenir : s’il a toujours été dans l’air du temps, c’est parce qu’il colle au plus près à deux composantes essentielles de la nature humaine, le besoin de découvrir l’Autre, l’Ailleurs, et l’envie de partager ses connaissances et son enthousiasme” (extrait de la quatrième de couverture). http://www.revue303.com/detail.asp?arId=2136
