bernard guelton
Since the end of the 1980s, Bernard Guelton has developed art works that question the social, architectural and urban contexts in which he operates. The issue of the relationships between architecture and fiction characterizes part of his achievements, designed for actors and places that are, each time, quite specific. Mobile works of art and urban games make up new developments that cross-fertilize his research team's works. At the university, he leads the Fictions and interactions team (UMR ACTE CNRS 8218 Pantheon Sorbonne University Paris 1). This research team ambitions to question the specificities of fiction from the perspectives of artistic and visual practices. The central notion of interaction determines three experimentation axes: 1 - Interactions between the media of one work of art: "intermediality", 2 - Interactions between the author, their works of art and the user, the interactive devices and the participants: "interactivity", 3 - Interactions between fiction and reality: "interpenetrations".Mains books: 1- (2016) Dispositifs artistiques et interactions situées, Presses Universitaires de Rennes.2 – (2014) Les figures de l’immersion, Presses Universitaires de Rennes. 3 – (2013) Images et récits, L'Harmattan. 4 – (2011) Fiction et médias, intermédialités dans les fictions artistiques, Publications de la Sorbonne. 5 – (2009) Les arts visuels, le web et la fiction, Publications de la Sorbonne. 6 – (2007) Archifiction, Quelques rapports entre les arts visuels et la fiction, Publications de la Sorbonne. 7 – (1998) L’exposition, interprétation et ré-interprétation, L’Harmattan. Last research programs: — “Creation and Immersion in Fictional and Virtual Devices” 2011 – 2013 (France - Canada – China) — “Digital Interfaces In Situations of Mobility: Cognitive, Artistic, Game Devices” (France, Canada, Brazil).
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Papers by bernard guelton
ways. The cognitive map, and the concept map–also known as the “heuristic”
or “mind” map–are the two distinct contextual meanings covered by the term
mental map in the present article. In the mental map domain, the first major
field of study is geography, spatial cognition, and neurophysiology and it aims to
understand how the route taken by a subject (or a set of subjects) in space leads
to memorization and internal representation(s). In general, the externalization
of these representations takes the form of drawings, positioning in a graph, or
oral/textual narratives, but it is primarily reflected as a behavior in space that
can be recorded as tracking items. A second field of study, one which is geared
more toward exploratory and combinatorial uses, is the concept (also heuristic
or mind) map which consists in organizing notions, concepts, and information
in the form of tree graphs or graphs that can be used to produce diagrams and
flowcharts. The aim is projective, for clarification and discovery purposes or for
data organization and visualization. To date, very few studies in the literature have
examined the similar, overlapping and oppositional features in what is broadly
referred to as “representation(s) of space” and “space(s) of representation.” How
can we better apprehend the complex notion of “mental map?” The question of
memorial transcription? Of “symbolic projection?” Can we identify meeting points
between these two polarities and, if possible, a continuum? Through the notion
of cognitive graph, recent advances in the understanding of brain mechanisms
enable us to approach the distinctions between cognitive map and conceptual
map as an articulated and continuous whole.
KEYWORDS
mental map, mind map, cognitive map, graphic transcription, cognitive graph
ways. The cognitive map, and the concept map–also known as the “heuristic”
or “mind” map–are the two distinct contextual meanings covered by the term
mental map in the present article. In the mental map domain, the first major
field of study is geography, spatial cognition, and neurophysiology and it aims to
understand how the route taken by a subject (or a set of subjects) in space leads
to memorization and internal representation(s). In general, the externalization
of these representations takes the form of drawings, positioning in a graph, or
oral/textual narratives, but it is primarily reflected as a behavior in space that
can be recorded as tracking items. A second field of study, one which is geared
more toward exploratory and combinatorial uses, is the concept (also heuristic
or mind) map which consists in organizing notions, concepts, and information
in the form of tree graphs or graphs that can be used to produce diagrams and
flowcharts. The aim is projective, for clarification and discovery purposes or for
data organization and visualization. To date, very few studies in the literature have
examined the similar, overlapping and oppositional features in what is broadly
referred to as “representation(s) of space” and “space(s) of representation.” How
can we better apprehend the complex notion of “mental map?” The question of
memorial transcription? Of “symbolic projection?” Can we identify meeting points
between these two polarities and, if possible, a continuum? Through the notion
of cognitive graph, recent advances in the understanding of brain mechanisms
enable us to approach the distinctions between cognitive map and conceptual
map as an articulated and continuous whole.
KEYWORDS
mental map, mind map, cognitive map, graphic transcription, cognitive graph
Bernard Guelton Editor
Éditions Hermann, September 2019
The mobility of people, information, objects, networks, and consequently of contemporary artistic works evolves very quickly. Ways of conceiving and living space-time and social relationships are profoundly and constantly changing.
In this context, shared mobilities become particularly significant and receive increasing attention. We propose to address and tighten the approach to these shared mobilities starting from a second very significant development of our new relationships to space and community which are the situated media. At the same time, it will be an opportunity to show how situated media are at the heart of the development of shared mobilities.
In the context of situated media, participants are successively or simultaneously receivers and transmitters of information that acquires its meaning according to the place where it is produced. Shared mobilities are defined in their contemporary forms as different forms of combined movements, physical and/or virtual, between several people in a continuous or discontinuous space.
The book presents about ten contributions on these fundamental changes, from the social, cultural, technological and artistic points of view. The stakes and techniques of geolocation, the portability of devices, mapping, the diversity of media and supports, and artistic issues are some of the key questions discussed in this volume.
With contributions from Marie-Laure Desjardins, Julien Feyt , Bernard Guelton, Charles Meyer, Adrian Palka, Teriitutea Quesnot & Stéphane Roche, Kim Sachs, Peter Sinclair, Marc Tuters, Andrea Urlberger.
Médias situés et mobilités partagées
Sous la direction de Bernard Guelton
Éditions Hermann, septembre 2019
La mobilité des personnes, des informations, des objets, des réseaux, et consécutivement des œuvres artistiques contemporaines évolue très rapidement. Les façons de concevoir et de vivre l’espace-temps et les rapports sociaux sont profondément et constamment modifiées.
Dans ce contexte, les mobilités partagées deviennent particulièrement significatives et reçoivent une attention de plus en plus importante. On propose d’aborder et de resserrer l’abord de ces mobilités partagées à partir d’un deuxième développement très significatif de nos nouveaux rapports à l’espace et à la communauté qui sont les médias situés. Par la même occasion, ce sera l’occasion de montrer comment les médias situés sont au cœur du développement des mobilités partagées.
Dans le contexte des médias situés, les participants sont successivement ou simultanément récepteurs et émetteurs d’une information qui acquiert sa signification en fonction du lieu où elle est produite. Les mobilités partagées sont définies sous leurs formes contemporaines comme différentes formes de déplacements combinés, physiques et/ou virtuels, entre plusieurs personnes dans un espace continu ou discontinu.
L’ouvrage présente une dizaine de contributions sur ces changements fondamentaux, tant du point de vue social, que culturel, technologique et artistique. Les enjeux et techniques de la géolocalisation, la portabilité des appareils, la cartographie, la diversité des supports et des médias, les enjeux artistiques, forment quelques questions essentielles qui sont discutées dans ce volume.
Avec les contributions de Marie-Laure Desjardins, Julien Feyt , Bernard Guelton, Charles Meyer, Adrian Palka, Teriitutea Quesnot & Stéphane Roche, Kim Sachs, Peter Sinclair, Marc Tuters, Andrea Urlberger.
This book is the result of an international program of conferences and round tables in Paris 1 Sorbonne with participants from Japan, Canada, England, Switzerland, Malta, and France. The participants consider the growing number of artistic, digital, fictional, and game devices that are based on user mobility and interaction through digital interfaces. Through exploration, experimentation, and the creation of alternate reality art devices, questions about the limits between real, virtual, and fictional worlds are discussed. The characteristics of these three worlds and their confrontation with one another require new ways of elaborating and analyzing creations. How do digital interfaces accompany mobility and how is mobility redefining these interfaces? What are the roles of digital interfaces in connecting someone to his or her spatial and social environment? What is the importance of spatial co-construction by several interacting subjects? The book is divided in three parts: 1) Game Devices: Game Narrative & Alternate Reality Games, 2) Devices, Medias and Technologies Analyses: Auditory and Movie Spaces; Scientific Issues and Intention Mining in Mobile Environments, 3) Artistic Issues: GPS Images, Cognitive and Aesthetic perspectives.
Co-authors: Gordon Calleja, Karleen Groupierre, Bernard Guelton, Owen Chapman, Ulrich Fischer, Christian Jacquemin, Bénédicte Legrand, Masaki Fujihata, Anne Reboul et Bruno Trentini
The artists and researchers involved in this publication and associated symposium, the Art & Mobilities Network Inaugural Symposium held 3 July 2018 at the Peter Scott Gallery, Lancaster University are: Kaya Barry, Tess Baxter, Bruce Bennett, Clare Booker, Natalie Bowers, Monika Büscher, Owen Chapman, Jocelyn Cunningham, Malé Lujan Escalante, Nick Ferguson, Bernard Guelton, Peter Merrington, Elia Ntaousani, Kat Jungnickel, Linda O Keeffe, Sven Kesselring, Carlos Lopez, Serena Pollastri, Nikki Pugh, Emma Rose, Kim Sawchuk, Mimi Sheller, Richard Smith, Jen Southern, Bron Szerszynski, Kai Syng Tan, Sam Thulin, Emma Whittaker and Louise Ann Wilson
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CONTEXTS
Kai was a 2017-2018 Centre for Mobilities Research CEMORE Visiting Fellow, Lancaster University. She worked closely with the Director of Mobilities Lab Dr Jen Southern, as well as Professor Emma Rose and Dr Linda O Keefe of the Lancaster Institute of Contemporary Arts, and successfully co-curated the Art & Mobilities Network Inaugural Symposium. The study and practice of Art & Mobilities has been gaining momentum in the past decade. This includes pioneering solo and collaborative work led by Jen, a key player in the field. The Art & Mobilities network consolidates, celebrates and develops this work. On 3rd July, nearly thirty artists, writers, curators and researchers gathered - physically and via Skype - at the Peter Scott Gallery. UK participants brought with them objects, images or texts for a pop-up exhibition. We wrote our big ideas on a ‘manifesto wall’ and considered the histories of mobilities in art practice through a timeline running across the Gallery. Jen gave a keynote packed full of information and provocations covering creative research methods, the aesthetics of mobility and so on. We closed the colloquium with a role and ‘next step’ that each of us intends to perform to get the group going. In the longer term, we will seek funding to build this network internationally and to facilitate collaborations and activities such as conferences, exhibitions and publications.
Kai helped to collate and design an ‘instant journal’, an experimental platform which documents some of our activities and thoughts, and which we will continue to edit and develop. You can see the full publication in the link above.
Kai also gave a keynote lecture which was a performance-lecture of how art and mobilities collide for her as an artist, curator and woman. See a version of it here in the form of an online story through 100 slides. https://bit.ly/2Ob34Ha
OTHER LINKS
See next steps here: http://www.lancaster.ac.uk/cemore/mobilities-lab/art/
Flickr album: https://bit.ly/2vdIkri
Twitter discussion: https://twitter.com/hashtag/artmobs?src=hash
Timeline: https://bit.ly/2vhQSgB