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).
http://revue-proteus.com/Proteus01.pdf
The fluxion word “Intermedia” [1] 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) [2]. The travel [3] illustrate this collision or collusion between the arts as recalled Jürgen E. Müller is the origin of the concept of “intermediality” [4]. 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 [5], 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. [6] The travel media whose identity is uncertain, not yet stabilized and institutionalized would seem a relevant illustration of intermediality [7] defined by Thierry Lancien from a genealogy of media [8]. The writing on the screen, it seems generic mutate and change media [9]. 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 [10]). 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.
[1] Dick Higgins, Something Else Press Newsletter, New York, February, 1996, No. 1.
[2] 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.
[3] 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).
[4] IRC Research Centre intermediality of the University of Montreal, Quebec. http://cri.histart.umontreal.ca/cri/fr/vitrine/default.asp
[5] Studied by Gabriel Thoveron: Two Centuries of paralittératures reading, sociology, history. Flight. 2, 1895-1995. Gabriel Thoveron. Liège: Ed’s CEFAL, 2008. (Library paralittératures)
[6] intermediality to media: film, media, the advent of sound. Rick Altman. Cinemas Film Studies Journal, Vol 10, No. 1, Fall 1999.
