Suchergebnisse

Version de diffusion (sans annexe 1) ; This approach of photographic views wish to break with the mediatic classical approach of photography as an unifyed media and an iconographic one (according the main interest to pictures). Starting with the hypothesis than the informational value of photographic media is almost linked to the different views which grow through it, we have been induced to consider a diversity of process and pragmatic associations which allow these views to make sense and to illustrate different plans or informational systems. Photographic views grow and find their communicational pertinency in relation with various referential frameworks (socio-economical frameworks, sociological frameworks, mediatic frames, social and cultural contexts or political ones). Also, this study lead us to consider them as real anthropotechnical apparatus. We must also look into a set of notions, coming from different sciences and fields, in order to build photographic views as a research subject for Information and Communication Sciences. The notion of photographic situation, as the one of experience which is linked to it, induce to open the analysis field of photographic media. This proves, if it was necessary, than photographic practices illustrate, inside the living social texture, attitudes, postures and various projects. Studying communicational and informational dimensions of photographic views can also give us access to discreet networks which grow between the different levels of meaning of photographic sights at every age since 1839. Mostly, our approach of "ways of viewing" stand out from an aesthetic one, because we must first of all consider the diversity of problematic fields in which they take place, rather than the pictures produced by photographers or cameras ; Cette approche des regards photographiques entend rompre à la fois avec une approche iconographique (accordant un intérêt aux seules images) et avec une approche médiatique classique de la photographie qui la traite comme un média unifié. Partant de l'hypothèse que la valeur informationnelle du medium photographique est essentiellement liée aux regards qui se développent à travers lui, nous avons été conduits à envisager une diversité de processus et d'associations pragmatiques qui permettent à ces regards de faire sens et d'illustrer des projets ou des constructions informationnelles distincts. L'étude des regards photographiques nous a ainsi amenés à considérer différents cadres de référence avec lesquels ils se développent, et par rapport auxquels ils trouvent leur pertinence communicationnelle (cadres socio-économiques, « cadres socio-techniques », cadres médiatiques, contextes socio-culturels ou politiques.) et à les envisager comme de véritables dispositifs anthropotechniques. Il s'agit aussi d'examiner un ensemble de notions, empruntées à des disciplines différentes, et permettant de construire les regards photographiques comme objet d'étude pour les sciences de l'information et de la communication. La notion de situation photographique, comme celle d'expérience qui lui est corrélative, oblige à un élargissement du champ d'analyse, qui prouve, s'il en était besoin, que les pratiques photographiques illustrent, au sein du tissu social vivant, des postures, des attitudes et des projets variés. L'étude des dimensions communicationnelles et informationnelles des regards photographiques peut donc permettre d'accéder aux réseaux discrets qui se développent entre les différents niveaux de signification à chaque époque depuis 1839. Elle se distingue également d'une approche esthétique des regards, puisque c'est la diversité des champs problématiques dans lesquels ceux-ci s'inscrivent qu'il s'agit de prendre en compte, plus encore que les images produites par les appareils photographiques et les photographes

Version de diffusion (sans annexe 1) ; This approach of photographic views wish to break with the mediatic classical approach of photography as an unifyed media and an iconographic one (according the main interest to pictures). Starting with the hypothesis than the informational value of photographic media is almost linked to the different views which grow through it, we have been induced to consider a diversity of process and pragmatic associations which allow these views to make sense and to illustrate different plans or informational systems. Photographic views grow and find their communicational pertinency in relation with various referential frameworks (socio-economical frameworks, sociological frameworks, mediatic frames, social and cultural contexts or political ones). Also, this study lead us to consider them as real anthropotechnical apparatus. We must also look into a set of notions, coming from different sciences and fields, in order to build photographic views as a research subject for Information and Communication Sciences. The notion of photographic situation, as the one of experience which is linked to it, induce to open the analysis field of photographic media. This proves, if it was necessary, than photographic practices illustrate, inside the living social texture, attitudes, postures and various projects. Studying communicational and informational dimensions of photographic views can also give us access to discreet networks which grow between the different levels of meaning of photographic sights at every age since 1839. Mostly, our approach of "ways of viewing" stand out from an aesthetic one, because we must first of all consider the diversity of problematic fields in which they take place, rather than the pictures produced by photographers or cameras ; Cette approche des regards photographiques entend rompre à la fois avec une approche iconographique (accordant un intérêt aux seules images) et avec une approche médiatique classique de la photographie qui la traite comme un média unifié. ...