bernard guelton
Université Paris 1 - Panthéon-Sorbonne, Arts et Sciences de l'art, Department Member
- Since the end of the 1980s, Bernard Guelton has developed art works that question the social, architectural and urban... moreSince 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).edit
The new access to cartographic tools (beyond specialist uses) produces new collective shared configurations and new, further mental individual and collective representations. With several years' experiments of interactions between... more
The new access to cartographic tools (beyond specialist uses) produces new collective shared configurations and new, further mental individual and collective representations. With several years' experiments of interactions between participants in remote cities, the aim of the research presented here is a better understanding of entanglements between instrumental, shared and mental maps. More specifically the question is to know how new instrumental uses renew shared mental representations of urban spaces. How are mental maps constructed in situations of interaction with connected and dynamic uses? Consecutively, how are they developing when shared? The aim is to understand new forms of entanglements between egocentric, allocentric and distributed spaces in the mobile perception of urban space.
Research Interests:
BERNARD GUELTON English short CV 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... more
BERNARD GUELTON
English short CV
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 réinterprétation,
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).
English short CV
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 réinterprétation,
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).
In Location-based Mobile Games participants interact in remote locations. The environment can be physical, virtual, and/or fictional and involve immersions and emersions. How does one qualify or more precisely define " immersion " in this... more
In Location-based Mobile Games participants interact in remote locations. The environment can be physical, virtual, and/or fictional and involve immersions and emersions. How does one qualify or more precisely define " immersion " in this kind of experience? This study documents four experiments for a Location-based Mobile Game project between remote cities and questions possible definitions for the notion of immersion. Four kinds of cognition could be established between the four experimental tests. Considering progressive external consciousness from body actions towards an environment, these four beta tests transition from embodied to shared cognition through situated and distributed cognition, producing special cognition combinations. This description can define a more precise signification of immersion in Location-based Mobile Games.
Research Interests:
Research Interests:
Research Interests:
In Alternate Reality Games, mobility and equipments engaged are essentials. They involve with real, virtuel and fictionnal immersions contexts. These questions are studied through three devices created by the english artist group Blast... more
In Alternate Reality Games, mobility and equipments engaged are essentials. They involve with real, virtuel and fictionnal immersions contexts. These questions are studied through three devices created by the english artist group Blast Theory. The concepts of representations of self and immersion in alternate realities are questioned in general and through three environments designed by the English artist group Blast Theory. The concepts of representations of self in the alternate reality games are considered through the question of the action and action plans towards more elaborated questions about the place of the participant and the limits of the game. Action, location, decision, operativity and indeterminacy are proposed as basic operating modes. They involve mobility and subject’s actions. < MOTS-CLES > Blast Theory, immersion réelle, immersion virtuelle, réalités alternées, représentation de soi, dispositif ludique et fictionnel. < KEYWORDS > Blast Theory, real imm...
Digital interfaces in situations of mobility now constitute a technical and social environment that is ever more significant and broadly shared. While traditional mobility of individuals in public or private spaces is transformed by these... more
Digital interfaces in situations of mobility now constitute a technical and social environment that is ever more significant and broadly shared. While traditional mobility of individuals in public or private spaces is transformed by these interfaces, these interfaces, in turn, are also constantly being reconfigured, adapting to new uses and expectations that they trigger. By digital interface, we mean the most broadly used platforms and tools (servers, smart phones, tablets, laptops and apps). In the area of interface, the contrast between the versatility of one device and the specificity of applications is a key point, calling for differentiated cognitive devices. Digital interfaces suggest an extension of cognition, in which one could argue that cognitive processes occur in the tool used as much as in the brain (extended cognition). This process is essential in regard to digital interfaces. Situations of mobility in the context of this colloquium include a large spectrum of moveme...
Scientific research, as is well-known, requires supposition and imagination. Can such an approach be associated to fiction? What should be understood by the word “fiction” in the field of science? If there's a form of “contract” at... more
Scientific research, as is well-known, requires supposition and imagination. Can such an approach be associated to fiction? What should be understood by the word “fiction” in the field of science? If there's a form of “contract” at the base of such a relationship to fiction, then it cannot be an implicit contract such as the one to be found in artistic fiction. It must be the most explicit possible. In an activity such as scientific modelling, does the contract consist of suspending certain conditions of truth? What then is to become of the verification and invalidation processes that are essential to science? In addition, what should one think of the extraordinary work of imagination at the heart of cosmology theories and theoretical physics? Isn't such work of imagination and formalisation in contemporary cosmology reproached for increasingly abandoning experimentation and invalidation processes? The question of modelling shall be privileged in order to try and confront s...
Research Interests:
https://cgscholar.com/bookstore/works/digital-interfaces-in-situations-of-mobility This book is the result of an international program of conferences and round tables in Paris 1 Sorbonne with participants from Japan, Canada, England,... more
https://cgscholar.com/bookstore/works/digital-interfaces-in-situations-of-mobility
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
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
Research Interests: Narrative, GPS Applications, Mobility, Games, Digital Narrative, and 7 moreScenarios, Digital Interfaces, narrative, multimedia, immersive virtual environments, simulation, and instructional games for development of positive self-efficacy and improved performance for K20+ learners in concepts traditionally difficult to teach and/or learn., Urban Games, Cognitive Devices, artistic Devices, and Located Based Mobile Games
See full publication here: https://issuu.com/kaisyngtan/docs/2018august_cemore_instantjournal_ka The artists and researchers involved in this publication and associated symposium, the Art & Mobilities Network Inaugural Symposium held 3... more
See full publication here: https://issuu.com/kaisyngtan/docs/2018august_cemore_instantjournal_ka
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
---------------------
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
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
---------------------
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