Cette étude théorique et pratique aborde, dans une perspective transdisciplinaire, les recherches contemporaines sur la traversée et l'image-mouvement. Marcher/filmer est une pratique structurellement instable, discontinue et arythmique ancrée sur le principe de l'entre-deux. Gradiva,celle qui marche et celle dont on suit le pas et la silhouette, est le mythe fondateur d'une recherche qui convoque présences transitoires, seuils, frontières, danses en miroir, empreintes et débordements. Avec Gradiva, la marche se dédouble et l'intervalle des corps détermine un autre espace topologique, parcellaire et troué : des fragments d'images, de sons et d'espaces. Marcher/filmer s'incarne alors entre les corps, entre les images, entre les rythmes, dans le montage d'une verticalité suspendue. C'est un récit du quotidien, de l'ordinaire et de l'acception particulière du temps que sont l'occasion, l'accident et l'imprévu : un discours de l'altération, de l'incertitude et du mouvement. La marche, "c'est un savoir qui se tait" écrit Michel de Certeau dans l'Invention du quotidien. Basée sur l'attente et la répétition des traversées, marcher/filmer est une pratique de l'accumulation, de la liste et de l'et caetera. Par sa cartographie lacunaire et trouée et son rythme spatio-temporel hors-norme, montage de temporalités hétérogènes et simultanées, Rome a été le territoire privilégié de cette recherche et de la réalisation du court-métrage Attraversare Roma (à travers Rome) qui l'accompagne. / This theoretical and practical study addresses the contemporary investigations about the crossing and the image-movement via a cross-disciplinary approach. Walking/filming is a practice structurally unstable, discontinuous, arrhythmic and strongly tied to the principle of the spaces inbetween. Gradiva, the one who walks and whom we follow the steps and silhouette, is the founder myth of a research that summons transitory presences, thresholds, boundaries, mirror dances, footsteps and excesses. With Gradiva, walking splits and the interval of bodies determines another topological space, fragmented and with holes: fragments of images, sounds and spaces. Walking/filming thus appears between the bodies, between the images, between the rhythms, in the assembly of a suspended vertical height. lt is a tale of everyday life, of the ordinary, and of the specific acceptance of times such as the opportunity, the accident and the unexpected : a tale of change, uncertainty and movement. As written by Michel de Certeau in L'Invention du quotidien, walking " is a knowledge that remains quiet". Based on the expectation and the repetition of crossings, walking/filming is a practice of accumulation, listing and the et caetera. With its patchy and pierced cartography and its nonstandard spatiotemporal rhythm made of simultaneous and heterogeneous temporalities, Rome was the priviledged territory of the present work and thema king of the associated short film Attraversare Roma (à travers Rome).

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ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...