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 à 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 à 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 à 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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Du carnet de voyage – reportage numérique

Du carnet de voyage numérique à l’expérience transmédia. Pascale Argod, Numéro 2 de la revue Échappées, revue annuelle d’art et de design – recherche intitulé Graphic design and multimedia – uses and users in the digital age de l’École supérieure d’art des Pyrénées Pau Tarbes, mai 2014.

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

La mobilité du numérique produit une transfiguration de la relation à l’espace, notamment du déplacement physique et du voyage qui évolue vers un espace virtuel, partagé, de flux et d’interaction, parfois vers une poétique de l’imaginaire et de la mobilité numérique. Le carnet de voyage met en question la territorialité liée aussi à un autre temps du voyage, entre retenue et passage de flux. La question du statut de l’oeuvre « carnet de voyage » interroge ainsi le régime de l’art. Comment expérimente-t-on le rendu du voyage de l’artiste à l’heure de l’oeuvre numérique ? De l’écrit à l’écran, le carnet de voyage semble subir des mutations génériques et des mutations médiatiques : de l’album de voyage dessiné et du documentaire audio-visuel vers une hybridité de supports combinés et de nouvelles formes de médiations (blog, streaming, e-pub…). L’hybridité du genre rend nécessaire la création d’une typologie qui puisse différencier les carnets de voyage multimédia et numériques en fonction de plusieurs critères. Du blog de voyage ou « blog-reportage » au web documentaire, la transgression des frontières entre documentaire et fiction semblerait alors « la marque de fabrique » du carnet de voyage qui pourrait tendre vers une virtualisation de la notion de voyage.

Voir l’intégralité de l’article sur le site de la revue en ligne :

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

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (ESPE d'Aquitaine) et chercheuse à 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 travelogue, from the extime to transmedia : field notes in artistic form and in SHS

Canal Psy, n°99, janvier-mars 2012
ill. de Caroline Bartal, Canal Psy, n°99, janvier-mars 2012

The travelogue, from the extime to transmedia : field notes in artistic form and in SHS

« Le carnet de voyage de « l’extime » au transmédia », Pascale Argod, Canal Psy, n°99 « Voyager, partir, (se)découvrir », Trimestriel de l’université Lumière de Lyon 2, n°99, janvier-février, mars 2012 (4 pages).

http://psycho.univ-lyon2.fr/rubrique-279-Parutions.html

Since 1999, the first Biennial Book Travel Clermont-Ferrand is in an « ethics and aesthetics of travel » to which we could joust the encounter with the Other and Cultural Diversity: Make a travel book, is to take the time to listen, to feel, to observe. It is traveler pass status to that of discoverer. And that changes everything in exchange and outlook on others. As such, the book is also a great travel support for strengthening an ethical travel that replaces the urgency and a priori tolerance and respect. It allows you to pass judgment in the analysis.  »

The term « safar » according to the artist expresses Stefano Faravelli’s own book travel is the unveiling of the self, the other and the world. Communication medium, it can meet with each other through the universal language of art and design. It opens with the observation of the world and practicing meditation in the eye and initiating a search for meaning and authentisme. Paradoxically, in a world of flux and movement, the travel book revives the scarcity of evidence become work of art: the privileged reader discovers only see the original look of an artist in a country, the diary of artist is revealed to the public preferred reading. The graphics give a more artistic and poetic journey that single use of photography but also more authentic. Also the travelogue represent a materiality of travel in a globalized world and virtual memory as the journey continues, aesthetic, poetic. Taste for personal expression is the reflection of the scrapbook or blog that promotes the mosaic composition specific to the composite image travelogue.

The notion of « the extime » (outer-inner), or exploration of supplication-out-in was made by Michel Tournier about his book Extime Journal, published in 2002 in The Musardine and is transferable to book journey that educates as much to look at intercultural. This log book is similar to extime reason which flows counter days, local news and events personal and social. The carnettistes often hold sketchbooks on their lives and on the news. Michel Tournier said. The journey conducive to introspection creates the urge to write this intimacy connected to the outside, as inserted in a dialectic of communication with the Other, which then returns different to oneself, to one’s own culture in the gap with Other and its mode of thought abroad. For Gaston Bachelard in his Poetics of Space [1], « outside and inside form a dialectic of quartering. » Serge Tisseron extimacy defines as « the movement that pushes everyone to put forward an intimate part of his life, both physical and psychic » or « overexposed. » This notion of extime was also mentioned by Lacan, Michel Butor and André Malraux through « exploration » and « supplication ». The inner and outer relationship studied by Gaston Bachelard in his Poetics of Space, nurtures creativity and expression by comparing the self to the other, the other refers to his experience. Antoine philippe [2] defines also the travelogue of the nineteenth century as a writing me as well as the world. The walk of the Romantics is defined as a way of being in the world, but especially to see to say in this combination that creates a paradoxical space where inside and outside merge. Space Blog by Anne Kerebel [3] plays this externality and the travel book that speaks of intimacy and openness to the horizon of the world and the other appears to be similar.

[1] Poetic space. Gaston Bachelard. PUF, 1972. (Chapter IX, The dialectics of outside and inside, p.191-207).

[2] and in undifferentiated Outside: walk. Philippe Antoine. The extime / intimate. A. Mura-Brunel, F. Schurewegen. CRIN, Journal of Research of the Dutch Institute of French Language and Literature, 41, Amsterdam-New York, 2002.

[3] intimate Keyboards: online newspapers as a new space of intimacy? Anne Kerebel, RiLUne, No. 5, 2006, p. 107-120.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (ESPE d'Aquitaine) et chercheuse à 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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