The heritage as an object and historical research in human and social sciences: towards e-museumgraphy

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.

Database:

The catalogue of archives and manuscripts of French academic libraries:

http://www.calames.abes.fr/pub/

The online inventory of digitized corpus and digitization projects of institutions and organizations of Higher Education and Research:

http://www.numes.fr/numes/mainMenu.html

Courses of studies:

Geological diaries of Philippe Glangeaud from 1899 to 1929 in Auvergne. University Library of Clermont-Ferrand

http://bibliotheque.clermont-universite.fr/glangeaud/collections

Travelogues of Jean Dresh 115 manuscripts written on the field between 1934 and 1990 Université Paris 8

http://www.bibliotheque-numerique-paris8.fr/fre/notices/104696-Les-carnets-de-voyage.html

Travelogue diaries of  Jules Cloquet in Italy in 1837. Université Paris 5.

http://www.bium.univ-paris5.fr/cloquet/

L’herbier de Paolo Boccone in 1670. University library of Paris 5.

http://www.bium.univ-paris5.fr/boccone/

Pierre Loti designer A work of long duration. Alain Quella-Villéger Bruno Vercier. Bleu around 2010.

http://alain-quella-villeger.over-blog.com/article-nouveaute-pierre-loti-dessinateur-40198735.html

Carnets Mexicains d’Henri Cartier-Bresson – – 1934-1964. Hazan, 1995.

http://www.henricartierbresson.org/hcb/HCB_expo_fr.htm

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

http://lejournaldearthuryoung.fr/index.php?content=posts.php&init=40

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

http://lido.hypotheses.org/479

Geoculture. La France vue par les écrivains

http://lafrancevueparlesecrivains.fr/

Pascale Argod

Enseignante PRCE à l’université de Bordeaux (ESPE d’Aquitaine) et chercheuse au sein de l’équipe du MICA (2246 – Médiation, information, communication, art ) de l’université de Bordeaux Montaigne,
requalifiée en SIC (2010 – 2018 par le Conseil national des universités),
Docteur en sciences de l’information et de la communication.

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The architecture and heritage diary: from note-book to a book on the worksite

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.

Pascale Argod

Enseignante PRCE à l’université de Bordeaux (ESPE d’Aquitaine) et chercheuse au sein de l’équipe du MICA (2246 – Médiation, information, communication, art ) de l’université de Bordeaux Montaigne,
requalifiée en SIC (2010 – 2018 par le Conseil national des universités),
Docteur en sciences de l’information et de la communication.

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From intermedia and from transmedia: the Travelogue genre

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 [1] and then a mediatique genre of of mass media, nearly a kind of intermedia. Born in the Romantic era [2], 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 [3] that was developed by Henry Jenkins during his lectures in Europe during the month of May 2012. [4] This is the project of the digital artist Karen Guillorel [5] who received the prize for the digital travelogue Vidéoformes [6] 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 « [7]. Her work in collaboration with Yann Minh wishes to exploit the creative potential for the project « E-Migration » [8]. 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.

Pascale Argod

Enseignante PRCE à l’université de Bordeaux (ESPE d’Aquitaine) et chercheuse au sein de l’équipe du MICA (2246 – Médiation, information, communication, art ) de l’université de Bordeaux Montaigne,
requalifiée en SIC (2010 – 2018 par le Conseil national des universités),
Docteur en sciences de l’information et de la communication.

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From the digital travelogue diary to a transmedial experience: research article

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:

http://recherche.esapyrenees.fr/echappees/fr/index.php

Pascale Argod

Enseignante PRCE à l’université de Bordeaux (ESPE d’Aquitaine) et chercheuse au sein de l’équipe du MICA (2246 – Médiation, information, communication, art ) de l’université de Bordeaux Montaigne,
requalifiée en SIC (2010 – 2018 par le Conseil national des universités),
Docteur en sciences de l’information et de la communication.

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Graphical art in the digital travelogue diary: research article

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.

 

 

Pascale Argod

Enseignante PRCE à l’université de Bordeaux (ESPE d’Aquitaine) et chercheuse au sein de l’équipe du MICA (2246 – Médiation, information, communication, art ) de l’université de Bordeaux Montaigne,
requalifiée en SIC (2010 – 2018 par le Conseil national des universités),
Docteur en sciences de l’information et de la communication.

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