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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The travelogue, from iconotextuel hybridization to over-hybridization

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

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 (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 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 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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Diary of intercultural exchange and evolution : creation of travelogues and variety of educational approaches

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].

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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Cultural and visuel Subject of « Cultural Studies » : the genre in various media and artistic circulation

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.

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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