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[Commlist] CfP: Interactive images and new narratives
Tue Feb 18 19:13:46 GMT 2020
Call Paper n° 5
*Interactive images and new narratives*
*Coordination: Jacques Ibanez Bueno & Alba Marin Carrillo*
/Revue Française des Méthodes Visuelles/, while acknowledging the
preponderant role of photography and cinema in the evolution of research
practices, remains open to other types of (audio)visual methods. And if
researchers can claim to be from visual sociology or visual
anthropology, they can also be from other disciplines, in an
institutionalization of disciplines or sub-disciplines more or less
asserted in this field (PINK, 2003). Since /The Nuer/ (1940) by Edward
EVANS-PRITCHARD and /Balinese Character/ (1942) by Margaret MEAD and
Gregory BATESON, the resulting photographic and then film production
(Jean ROUCH among the precursors) is necessarily linked to aesthetics
and the history of visual art in a complex and often ambiguous
relationship. Documentary film, for example, is part of the history of
cinema and the history of visual methods. It is logical that documentary
film should be permeable to the introduction of digital technology and
then to its almost-generalization, which goes much further than the
abandonment of silver film by the creation of new formats that are more
or less stable in their evolving aesthetics. Jacobo SUCARI, in a
classification of contemporary documentary (2012), adds to the usual
categories of "documentary of cinematic tradition" and "video
documentary" four other categories that illustrate the tensions between
film and video: 1) the documentary in a contemporary art process, 2) the
expanded documentary, 3) the transmedia documentary and 4) the web
documentary. The porousness between visual methods in social sciences
and the art of documentary filmmaking inevitably leads to the
implementation of methods inspired by this rapid upheaval of forms
through digital technology. This is why, in connection with point 5 of
the Editorial Manifesto "Exploring new digital experiences by fully
exploiting the opportunities offered by online publishing" (BOULDOIRES,
REIX, 2017 & 2018), /Revue Française des Méthodes Visuelles/ proposes,
in this issue 5, to shed light on these methodologies involving
so-called "interactive" images, a field that is rich yet unstable due to
the speed of the socio-technical innovations that cross it. By using the
expression "interactive images", which we prefer to interactive
documentary (ASTON, GAUDENZI, ROSE, 2017) or to "interface-films" (DI
CROSTA, 2009), we wish to better grasp, in their formal diversity,
visual methods producing research devices such as digital documentaries,
but also video games, serious games, immersive and performative
installations in virtual, augmented or mixed reality.
Beyond the strictly computational interactivity, the interactivity
offered to the spectator is at the heart of the device, which allows a
more individualized way than in the format of the cinematographic work
with its linearity. The user is truly included not only through the
interactivity induced but also through personalization, participation
and immersion. This user can co-construct the content, for example, by
integrating a self-produced video, but whose insertion is planned by the
creator of the device (e.g.: web documentary). Without considering that
the classic film viewer is a passive spectator before, during and after
the projection, with interactive images, the new status proposed is that
of "spect'actor" or "interactor" (PROULX, 1998). This is the case of the
panoramic movement of the documentary film imposed in the chronological
scrolling of the animated images, which becomes optional in the case of
virtual reality from a capture with a 360-degree camera. This is why
four elements must be taken into account in the methodological
modalities: image (and sound), technology, user/work interactions and
lived experience (MARIN CARRILLO, 2019).
Although in a broad sense some researchers integrate visual methods into
visual studies, the epistemological position defended here does not
favour research work where only content analysis or semiotics of a
corpus of visual productions of users (e.g. semiotics applied to images
produced and distributed on a digital social network such as Facebook
during a social protest). The image is not considered as an object of
research but as an indispensable element of a methodological research
practice (CHAUVIN, REIX, 2015). Similarly, in a context of Arts and
Sciences collaboration increasingly praised by some institutions, visual
creation cannot be limited to audiovisual formatting such as the
scripting of research data (e.g. interactive mapping of scientific
data), non-visual methodologies in social sciences or in life sciences.
In this call for papers, visuals cannot be limited to a visual and
interactive design of research in a context of increased social demand
for more attractive ways of scientific dissemination. A capture of
images and sounds relative to a social group is indispensable under the
authority of a researcher with his freedom as a creative author in
writing, editing and digital design.
This call for papers invites researchers to propose papers that deal
with the precise use of visual methods resulting in research productions
consisting of interactive images (e.g. research webdocumentary;
immersive research device with headsets and headphones). /Revue
Française des Méthodes Visuelles/ is also interested in proposals for
critical reflection with an epistemological perspective, both in terms
of duration and the diversity of digital forms that claim to use visual
methods. For this reason, a non-exhaustive list of work axes is
proposed: status of the interactive image; participation in the research
of the subject or social group studied; user reception of the production
of visual and interactive research; interactive narration; between
interactive aesthetics and research design; the sensory experience in
visual methods; etc.
*AGENDA*
*February 29, 2020*: Proposals for articles in the form of an abstract
of 1500 to 3000 characters, including spaces specifying the central
question, the theoretical and/or methodological framework, and the
contribution of the article to visual methods, should be sent to the
coordinators of the call for papers:
(callrfmv /at/ gmail.com) <mailto:(callrfmv /at/ gmail.com)>
*March 15, 2020 : *Selection of proposals**
*May 15, 2020: *Receipt of articles for evaluation**
*Instructions to authors: *https://rfmv.fr/ecrire-dans-la-revue/
*REFERENCES*
//
ASTON Judith, GAUDENZI Sandra, and ROSE Mandy (2017), /I-Docs : The
Evolving Practices of Interactive Documentary/, Wallflower Press, New York.
BIELLA Peter (1993), « Beyond Ethnographic Film: Hypermedia and
Scholarship », in Rollwagen, J. R.(ed.), /Anthropological Film and Video
in the 1990s/, The Institute, Inc.
BOULDOIRES Alain, REIX Fabien (2017 & 2018), « Méthodes Visuelles, de
quoi parle-t-on ? //Images fixes, Images animées », N°1 & N°2, /Revue
Française des Méthodes Visuelles/, MSHA, Bordeaux.
CHAUVINPierre-Marie, REIX Fabien (2015), « Sociologies visuelles.
Histoire et pistes de recherche », /L'Année sociologique/, 2015/1 (Vol.
65), p. 15-41.
DI CROSTA Marida (2009),/Entre cinéma et jeux vidéo l'interface-film :
métanarration et interactivité/, De Boeck, Bruxelles.
HARPER Douglas (2012), /Visual Sociology/, Routledge, London.
HOWARD Alan (1998), Hyper Media and the future of Ethnography, /Cultural
Anthropology/, 3, p. 304-15.
IBANEZ BUENO Jacques, CHABERT Ghislaine, LAMBOUX-DURAND Alain, WANONO
Nadine, Dir. (2017), /Visual methods and digital worlds/, CNRS,
Universités La Laguna, Bourgogne Franche-Comté & Savoie Mont-Blanc,
Cuadernos de Comunicacion, Tenerife.
MCDOUGALL David (2006), /The corporeal image Film, ethnography, and the
senses/, Princeton University Press, New Jersey.
MARIN CARRILLO Alba (2019), /Innovación tecnológica y formas de
representación en el documental social. Desde los formatos interactivos
hasta las experiencias inmersivas/, Universidad de Sevilla & Université
Savoie Mont-Blanc, Cotutelle de thèse de doctorat en communication.//
PINK Sarah (2003), « Interdisciplinary agendas in visual research:
re-situating visual anthropology”, /Visual Studies/, Vol. 18, No. 2, p.
179-192.
PROULX Serge, BARDINI, Thierry, BELANGER Danielle (2000), « Des
nouvelles de l’interacteur : phénomènes de convergence entre la
télévision et Internet », /Sociétés et Représentations/, no. 9, Paris,
p. 161-180.
REMILLET**Gilles*, *WANONO Nadine (2014), « Collaborative and
Interactive Presentation: Tracks Of A Discipline Evolution »,
/Anthrovision/ [Online].
SUCARI Jacobo (2012), /El documental expandido: pantalla y espacio/,
Universitat oberta de catalunya, Barcelona.
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