Notice bibliographique
Résumé
Building on Guattari’s three ecologies – the mental, natural and social –, and recently emerging discourses in documentary theory on interactive media making, co-creation and polyphony, this presentation discusses both notions of ‘images of ecology’ and ‘ecologies of images’ to fathom the potential of mobile, networked documentary media assemblages to encourage multilogue, to affectively and cognitively embrace complexity and to instigate transformation. Taking a project which is currently work in progress – the transdisciplinary polyphonic artistic research Mind the Gap! –, tentative answers are suggested to the question of how to face a situation of intermingled crises: the crisis of representation in the representation of crisis. Guiding questions are: How can one raise alert to immanent ecological risks and at the same time co-creatively awaken a desire for a more sustainable world? How can one promote awareness of ecological topics when risk is immanent but often invisible and when fundamental transformations are vital, but when, at the same time, the complexity of matters thwarts responsible action-taking? The hypothesis underlying the approach of this paper is that interactive documentary media configuration bear the potential to face both crises, especially those configurations which are based on principles of co-creation, polyphony and multi-perspectivity. This openness, I will claim, does not only do justice to the entanglement of issues at stake, but it also teaches us to listen to and to consider various viewpoints as openers to possibility spaces for negotiation and solution finding rather than fixed resolutions. Still, meaningful engagement requires multimodal competences and literacies, involving system thinking, socio-emotional aptitudes, and a cognizance of the interwovenness of the symbolic, material, phenomenological and political dimensions of ‘images of ecology’ and ‘ecologies of images’ (cf. López 2020). Hence, Mind the Gap! combines mindfulness and self-reflection with competences of mobile media making and artistic self-expression as well as socio-emotional skills to encourage experiential and experimental learning. Participants are invited to use their smartphones to create visual haikus while mindfully being in Nature. Analogousue to the literary haiku, they take three images or short videos which are shared and negotiated on a co-creative website. This growing collection serves several functions: 1) it documents the title-giving ‘gap’ that we risk due to a loss of biodiversity; 2) it presents a creative strategy to cope with a situation which either usually remains abstract and far away, or which is overwhelming and often causes resignation; 3) it is meant as a point of departure to stimulate exchange and to form a community of concern for further action taking; and 4) from a methodological perspective, strategies are deduced for multimodal eco-media literacies, responsive listening and understanding. Discourses from various traditions are brought into dialogue: theories of interactive media are reconsidered through the lens of ecocriticism and environmental humanities; concepts of mobile media making and “emplaced interaction“ (Aston 2017) meet reflections on the epistemic dimension of documentary; and principles of co-creation are related to theories of self-reflexive mindfulness and nature observation, creative expressivity and agency.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,003 | 0,007 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,001 |
| Bibliométrie | 0,003 | 0,002 |
| Études des sciences et des technologies | 0,004 | 0,036 |
| Communication savante | 0,015 | 0,018 |
| Science ouverte | 0,002 | 0,008 |
| Intégrité de la recherche | 0,004 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,009 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».