genèse des regards
about this contribution
This pan.able initially anchors the user’s attention in a portrait of a viewer, to reveal, progressively and successively, image display devices with contrasting purposes. Using the conceptual framework of the instrumental approach (Rabardel 1995) seems to us to be heuristic, in order to bring out the instrumented activity of the gaze, which is situated in different times and places. Shaping the problematic of our research through a visual approach is not to close the analysis but to accompany the genesis of the views in the process of being made.
Indeed, if the user first discovers a portrait of a viewer, the questions on either side of the portrait invites them to navigate either towards the object of this viewer’s activity (“What is she contemplating?”), or toward the instrumentation of her gaze (“How does she look at what she is looking at?”).
Questions guide the user in the different aspects of the conceptual model, which constitutes the core of the instrumental approach: the instrument (the image display device), the subject (the Viewer) and the object of the activity (Faux Terrain)
The successive questions allow the user to browse within two photographic series by Arno Gisinger (Betrachterbilder and Faux Terrain) to address the question of the gaze’s formatting through the intermediary of a panoramic device of the end of the 19th century, that of the battle of Bergisel in Innsbruck.
As a counterpoint to the panorama that conditions the gaze, the user is then invited to discover this double series (Betrachterbilder and Faux Terrain) exhibited opposite each other in Frankfurt’s Schirn Kunsthalle, in a scenography that encourages the emancipation of the gaze. Indeed, according to their own path and their own singular logic, each visitor can rearrange the images shown in the rotunda.
Through this gesture within this pan.able, combining photographic and conceptual prisms, reiterated in a variety of contexts, we invite .able users to become progressively aware of the framework of their gaze by making visible image display devices through graphic representations. When there is a genesis of the gaze, the gaze initially stumbles, and is prevented from seeing as usual. Then, if, and only if, the experience is opened up, the world being viewed, and the viewer, are both transformed in the interweaving of the gaze. It is by wandering through the staging of successive re-creations of Arno Gisinger’s photographic and scenographic work that viewers of the .able journal come into contact with the experiential depth of their own gaze. It is thus the successive reworkings that give shape to the experience of the gaze, which settles in a superimposition, an accumulation of worlds like nesting dolls. This mise en abyme is extended in the reflexive gesture of inviting .able’s viewers to look back on their own gaze within the pan.able.
The aim of this visual publication is to open a research-creation program titled “genesis of gazes,” at the crossroads of ergonomics, photography, and education.
authors: Anne Bationo-Tillon, HEPL Lausanne & Arno Gisinger, Université Paris 8
texts: Anne Bationo-Tillon
photographs: Arno Gisinger
designers: Arp is Arp Studio (Dimitri Charrel with Odilon Coutarel)
supported by: MSH Paris Nord
references and rights
illustration rights and references
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Two photographic series by Arno Gisinger. Copyright 2022 by the author. Reproduced with permission:
Betrachterbilder, 1998, series of twelve color photographs, Lambda prints, 151 × 124 cm
Faux Terrain, 1997, series of seven black and white photographs, printed on barytine paper, laminated on aluminum, wooden frames, 129 × 156 cm
bibliography and references
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Bationo-Tillon, Anne. 2013. “Ergonomie et domaine muséal”, Activités 10, no. 2: 82–108.
Bationo-Tillon, Anne and Françoise Decortis. 2016. “Understanding museum activity to contribute to the design of tools for cultural mediation: new dimensions of activity?” Le Travail Humain 79, no. 1: 53–70
Bationo-Tillon Anne and Pierre Rabardel. 2015. “L’approche instrumentale : conceptualiser et concevoir pour le développement.” In Concevoir pour les enfants. Edited by Françoise Decortis. Paris: Presses universitaires de France.
Georges Didi-Huberman. 1992. Ce que nous voyons, ce qui nous regarde. Paris: Les éditions de Minuit.
Gisinger, Arno. 2014. “Faux terrain et Betrachterbilder. Voir l’histoire dans un panorama.” In Théorème 19. Paysages et Mémoire. Cinéma, photographie, dispositifs audiovisuels. Edited by Michèle Lagny, Christa Blümlinger, Sylvie Lindeperg, and Sylvie Rollet. Paris: Presses de la Sorbonne Nouvelle.
Lugon, Olivier. 2020. “‘L’espace est resté voyou’ : entretien avec Arno Gisinger.” Focales 4: Photographies mises en espaces: https://doi.org/10.4000/focales.990
Arno Gisinger. 2013. Topoï. Paris: Trans Photographic Press.
Rabardel, Pierre. 1995. Les Hommes et les technologies. Approche cognitive des instruments contemporains. Paris: Armand Colin.
to cite this article
This article is using Chicago format for its references
Gisinger, Arno, and Anne Bationo-Tillon. 2023. “All-Embracing View: Genèse des Regards.” .able journal: https://able-journal.org/all-embracing-view