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Du split-screen au multi-screen-- From split-screen to multi-screen

La narration vidéo-filmique spatialement distribuée-- Spatially distributed video-cinematic narration

Edited By Marcin Sobieszczanski and Céline Masoni Lacroix

Selon la perspective suivie dans cet ouvrage, le spectateur est actuellement en train d’acquérir de nouvelles capacités de suivi et d’absorption de l’image en mouvement. Depuis une quinzaine d’années, les créateurs de l’iconosphère avancent sur le chemin de la complexification et de la multiplication des moyens narratifs visuels. Cette démarche est préparée non seulement par des expérimentations artistiques historiques mais avant tout par l’accoutumance des populations urbanisées à l’immersion dans l’iconographie dynamique, par la prolifération des sources d’information imagée, par les pratiques interactives tels le zapping télévisuel, la consultation d’Internet, l’imagerie de la téléphonie mobile, ainsi que par la médiatisation iconique de la conduite de véhicules et d’engins. Ces nouvelles manières de consommer l’image et le son dynamisent les nouvelles créations multi-supports et feront bientôt disparaître la salle obscure à projection plate et unique ainsi que les appareils mono-écraniques.
Nous proposons dans cet ouvrage une étude bilingue franco-anglaise quasi-exhaustive du phénomène, ancrée dans l’épistémologie des sciences cognitives, apportant des éclaircissements théoriques conjugués aux analyses des œuvres récentes et anciennes, et étayée par les considérations et les témoignages d’artistes.
According to this study, the spectator is currently acquiring new capacities to follow and to assimilate the moving image. In the last fifteen years, designers in the iconosphere have continued to make progress with the development and expansion of the media of visual narration. This advance is not only the result of past artistic experiments, but is above all rooted in such phenomena as the adaptation of urban populations to dynamic iconography, the proliferation of visual information, the emergence of interactive practices, such as channel surfing, the Internet search, mobile phone interfaces, as well as the visual interfaces for operating vehicles and other machines. These new ways of consuming images and sounds have fueled an expansion of new multi-screen designs that will gradually make the dark theater projection and the single-screen device obsolete.
This bilingual French-English study offers a semi-comprehensive investigation of these phenomena, anchored in the epistemology of cognitive science, providing theoretical explanations combined with analyses of recent and historical works and accompanied by the reflections and testimonies of artists.

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MARCIN SOBIESZCZANSKI A genetic theory of the videofilmic monstration distributed in the space and in the time Introduction How to think the internal division of the space of projection or of the viewing, in the cinema and in the video? Is it a simple game of reduction, a stylization, either is it a full-fledged narrative means? And if this last inter- pretation had to prevail, what new the internal division and the multiplica- tion would bring to the cinematic or videographic language? Can we con- ceive them in the continuity of developments of the technical means, such as the increase of the photosensibility of the cameras, the elongation of shots, the dolby, the high definition or the stabilization of the image, etc.? It is necessary to see in this «fashion» which breaks out for ten or fifteen years on the exhibitions of the contemporary art, a new category of the video- installation, either is it necessary to look at the projections multiple and shared by the pathway of their roots in the history of the cinema, since the mythical display of ten synchronized film projections, according to the process of Raoul Grimoin-Sanson, in the World Fair in 1900, or still at the assemblies precursors in shared screen and the triple synchronous projec- tion of André Debris and Abel Gance in 1926? The work presented here attacks all these questions simultaneously, by leaving as well a diachronic vision, marked out by listed historic facts, as by trying to give conceptual keys...

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