Archives par mot-clé : travel book

The ethnographic and engaged diary seeing the margins of society through “participative observation”

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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 [1], 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 [2]; ethnology door effect today otherness social

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE 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 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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The travelogue, from iconotextuel hybridization to over-hybridization

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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. [1] 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 [2] reports twenty-one days in Japan that combines video and excerpts from news images or manga, either “incoporations filmic” [3] 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 [4] Children’s literature to the stage as on the screen [5]? A roundtable Biennial Book Travel Clermont-Ferrand is thinking similar to “The travel multimedia, intermedia and transmedia” [6]. The writing on the screen, it seems generic mutate and change media [7].

Bibliography:

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.

[1] 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

[2] http://pocketjapan.over-blog.com/article-33456248-6.html

[3] Incorporaions cinematic. Nathalie Roelens. The heterogeneity in the visual, Volume 3: Intermediality visual, dir. Sémir Badir, Nathalie Roelens, PULIM, 2008, p. 71-87.

[4] From July 5 to 7, 2010 in Angouleme http://www.citebd.org/spip.php?article1399

[5] From June 30 to July 1, 2010 in Charleville-Mezieres: http://univ2010.wordpress.com/about/

[6] From 19 to 21 November 2010: http://www.biennale-carnetdevoyage.com/

[7] 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.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE 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 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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From the audio-visual travelogue to the promotion of “The authentic”: book of héritage

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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.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE 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 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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The ethnographic and orientalist diary of Eugene Delacroix (1798-1863) “Album in North Africa” : work of art

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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 [1] since it is named official painter in the diplomatic delegation of Charles de Mornay. Four books in seven Delacroix reached us [2]: 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 [3], 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” [4] . The two double pages sketches “Album of North Africa” [5] 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” [6], 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” [7], 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 [8] 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. [9] 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 [10] 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 [12]. ”

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. [13]

According to Farid Abdelouahad [14]:

“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 [15]. ”

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.

[1] Delacroix, a journey of Morocco, Andalusia, Algeria. Maurice Arama. No place, 2006.

Delacroix and Morocco. Guy Dumur. Hersher, 1988. (Artsite places).

[2] The manuscript of “Album of trip to Spain, Morocco and Algeria” by Eugène Delacroix is preserved in the library of the Château de Chantilly.

[3] 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).

[4] See Article: Study. In Dictionary of the image. Dir. Françoise Juhel. Coord.Vanoye.Vuibert Francis, 2006.

[5] 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.

[6] 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?

[7] On page 48 details and 49 reproductions of selected travel in Morocco watercolors. Delacroix. Alain Daguerre Hureaux. Image Library, 2000.

[8] Book of Britain. Paul Gauguin. Before and after. Papeete, 2002.

It consists of notes synthetic inspired his paintings from 1884 to 1887.

[9] Published in 1837 and written by former consul Oceania Jacques-Antoine Moerenhout.

[10] It should contain poems of Symbolist poet Charles Morice (1860-1919).

[11] Géograhies Gauguin. Jean-François Staszack. Breal, 2003.

Gauguin traveler: Peru to the Marquesas Islands. Jean-François Staszack.Breal, 2003. Geo Solar, 2006 (culture).

[12] 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

[14] Writer and historian of art and photography, Curator and designer who has published several anthologies of travel journals and books on photography since 1998.

[15] These wonderful travel books. Farid Abdelouhab. Reader’s Digest, 2004.p. 116.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE 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 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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The travelogue, from artistic intentions to intermediality : creating a reporting diary using various intermedia

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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.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE 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 - 2024 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

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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 (INSPE 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 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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A rough field diary in arts and in SHS :the art of a travelogue producer from the field to the paint-book

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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.

Pascale Argod

Enseignante PRCE à l'université de Bordeaux (INSPE 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 - 2024 par le Conseil national des universités), Docteur en sciences de l'information et de la communication.

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