Jean-Pierre PENEAU, professeur honoraire des écoles d'architecture, directeur de thèse
Dans la sphère architecturale d’Afrique du Nord, la production moderniste de Jacques Marmey est souvent citée comme référence. En prolongement des recherches dont elle a fait l’objet, et qui privilégient l’aspect formel, nous avons entrepris d’élargir la visée à la question du vécu sensible. Il s’agit ici d’évaluer la manière dont l’architecte transpose, conçoit et met en forme l’ambiance dans le projet. Le travail prend appui sur le Lycée de Carthage qui constitue, sans nul doute, le fleuron de son œuvre construite.
Se fondant sur les avancées théoriques et méthodologiques qui marquent le développement international de la thématique des ambiances, le travail s’inscrit dans une démarche de type interactionnel. Cette démarche nous permet de croiser analyse architecturale, évaluation des paramètres physiques en situation, relevés des actions, recueils et analyse des discours en contexte. La recherche se déploie en deux moments : la reconstitution de l’univers de conception de l’architecte ; la restitution de l’ambiance vécue dans le Lycée.
L’objectif vise, d’une part, une meilleure connaissance des mécanismes de référenciation mis en œuvre par l’architecte et, d’autre part, la mise au jour de « dispositifs ambiantaux » - agrégeant forme construite et effets produits - transposables dans le projet.
In the architectural sphere of North Africa, the modernist production of Jacques Marmey is often quoted as a reference. In continuation of the researches that dealt with it, and which favor the formal aspect, we decided to further the studies on the sensitive real-life experience. Thus the purpose of the work is to estimate the way how the architect transposes designs and shapes the atmosphere in the project. The research takes support on the high school « Lycée de Carthage » which constitutes, undoubtedly, the jewel of his work.
Based on the theoretical and methodological advances which mark the international development of the theme of the atmospheres, the work fits in an interactional type approach. This approach allows us to cross all of the architectural analysis, the evaluation of the physical parameters in situ, the observation of the actions, the collection and the analysis of the speeches in context. The research is carried out in two parts: the reconstruction of the design’s world of the architect; the restoration of the atmosphere lived in the « Lycée de Carthage ».
The objective is, on one hand, a better knowledge of the mechanisms of reference operated by the architect and, on the other hand, the highlighting of « atmospheric devices » - aggregating constructed shape and produced effects – that would be transposable in the project.
Workshop international - Pragmatiques du cosmopolitisme urbain : épreuves, ressources et interactivité
Université Paris Ouest Nanterre-La Défense, 10 et 11 avril 2014
Le cosmopolitisme urbain ne cesse de produire au quotidien des expériences d’adaptation à l’environnement plus ou moins problématiques. Que, par exemple, les « gated communities » au fil des années, loin de s’estomper, soient devenues l’un des fer de lance de l’offre immobilière mondiale, ou que les sans-papiers de tous bord continuent à être soumis, pour la plupart, aux logiques identitaires des Etats-Nations (même dans des régions autrement cosmopolitiques comme l’espace Schengen), donne la mesure du paradoxe d’une ville qui ne semble plus « venir » puisqu’elle est déjà là : « c’est au moment où il nous apparaît que le monde devient ville, que précisément la ville cesse d’être un monde ». Si le fait d’« adopter une « optique cosmopolitique » constitue la condition nécessaire à une reconstruction conceptuelle de la perception », quid de sa « boîte à outils » ? Entre ressources et épreuves, une pragmatique du cosmopolitisme urbain sert à rendre compte de la mise à l’œuvre ordinaire de cet outillage et des modes d’interactivité possibles.
Responsables scientifiques : Patricia Baquedano-Lopez et Pedro José García Sánchez
Invisible Places, Sounding Cities - Sound, Urbanism and Sense of Place
18–20 July 2014, Viseu, Portugal
Often acoustic space is ignored in the construction of a public space, yet the negative impact this has does not seem to get many complaints. People rarely require more quality of the sonic world, because the average consumer does not have the necessary references to change this state of affairs. We know that the prevalence of noise or sounds that do not convey any social significance and are a disturbance of the quality of life, reduces the ability to identify with the place we inhabit. It is therefore urgent to think about the acoustical problems societies are facing today and integrate that thinking in urban planning, architecture and management of public space, because the idea we have of ourselves, our personal awareness and the relationships we build in the external world, are inextricably linked to a space. We all exist somewhere. And personal identity also relates to this.
Deadline for Abstracts Submission: 15 March 2014
Deadline for Audio Works Submission: 31 March 2014
Locus Sonus Symposium #8, Aix en Provence, France, April 16th, 17th, 18th 2014
Locus Sonus Symposiums
From the outset in 2005 Locus Sonus Symposiums have maintained an exceptionally high standard in both artistic and scientific content. Deliberately restrained in regards to the number of participants they have succeeded, for each edition, in uniting international experts and generating lively discussion around a specific question or topic. The Locus Sonus Symposiums are organized in partnership with the Aix-Marseille University (AMU)’s sociology lab LAMES and regularly include collaborations with research groups such as IMéRA, CRESSON, CRiSAP UAL, SARC Queen’s University Belfast, SAIC Chicago, Laval’s University Quebec to mention just a few.
The fact that computers have become truly portable (smart phones) while being powerful enough to perform complex calculations in real-time is a very recent phenomenon. If a system capable of generating and capturing audio can share a user’s mobility, is the status of that audio changed? Can there be new forms of audio art that result from mobility?
We propose to consider mobile audio-technology from two points of view. These can be assimilated to maps and sounding. In the case of maps, we project space and trajectory through schematic representation while in the case of sounding, we activate the environment around us and in so doing collect information about it through feedback.
A traditional way of considering these two approaches to audio mobility might be that of experiencing audio phenomena we encounter as we cross a landscape (insect sounds, running water, or a noisy bar and the sound of traffic) versus hearing the ever changing sound of our own footsteps as they encounter different surfaces (gravel, leaves or a polished floor) and activate different resonant spaces or reflective surfaces (an empty hall, a carpeted room, a forest or a cliff face).
In terms of audio technology these two poles are epitomized by Locative Media on the one hand and sensor based computing on the other.In reality, the line we can draw between these two models is not so clear-cut: radar, a sounding-technology, is used to make projections or charts and we can ping the network from our laptops to see if we are present (as a node on the network) and hybridization of these approaches might offer considerable creative possibilities. However, we consider these two poles as significant in this research into an art of audio mobility.
Mobile audio-device listening (ipods, smartphones) can be considered negatively since they tend to isolate the user from his or her naturally occurring sound environment. They can also be considered positively, as a way of recuperating for the user, an otherwise unpleasant sound space (when travelling in a saturated urban environment for example). Our hypothesis is that by incorporating information emanating from the environment itself, either through sensing or through localisation, the negative aspects of mobile listening might be reduced and the positive aspects augmented.
Panel "Exploring 'atmospheres': an anthropological approach?"
ASA14 Decennial: Anthropology and Enlightenment, 19-22 June 2014, The Surgeons' Hall, Nicolson Street, Edinburgh
Convenors: Sara Asu Schroer (University of Aberdeen) and Susanne Schmitt
Discussant: Tim Ingold
This panel invites an engagement with the concept of 'atmospheres' and its relevance for anthropological research. Focussed on an exploration of atmospheres, we will discuss critically how affect, perception, sociality and actions are creative of and co-created by atmospheric spaces and bodies.
The notion of 'atmosphere' has always been part of anthropological discourse. It often occurs in texts and conversations, as part of ethnographic descriptions and personal field notes. In these instances atmosphere seems to refer to something vague and diffuse, a phenomenon that stems from our affective engagement with the world - evocative and difficult to grasp in terms of rational explanation. Yet few attempts have been made so far to explore the value of the concept of atmosphere for anthropological inquiry.
This panel will explore how the concept of atmospheres can inform and be made productive within anthropological and ethnographic research. We are interested in the questions of how atmospheres might be addressed and understood and whether their hazy and vague constitution might actually be inviting to further complicate the boundaries between the material and immaterial, presence and absence, individual and collective as well as body and place. Atmospheres seem to have an affinity to the in-between, the relational and situatedness. Like clouds in the sky they are ever forming and reforming, appearing and disappearing, never finished or at rest. Atmospheres can be sensed by a singular subject yet have collective affective qualities that evade the singular, can be created (e.g. for political, commercial, ritual purposes) but are also co-creating the ways through which we sense and perceive in the world.
We would like to invite papers from a variety of anthropological fields to explore the affective and performative character of atmospheres through ethnographic, theoretical or methodological reflections.