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Version fran&#231;aiseArgumentaireSi le processus de construction de la connaissance anthropologique constitue aujourd&#8217;hui un objet de recherche &#224; part enti&#232;re, les &#233;tudes portant sur les &#233;changes entre les mondes de la recherche, de l&#8217;informatique et de la cr&#233;ation artistique (photographies, films, sons, multim&#233;dia, arts plastiques, etc.) sont encore marginales. Pourtant ce mode d&#8217;association est ancien et connait aujourd&#8217;hui un ind&#233;niable regain d&#8217;int&#233;r&#234;t. Force est en effet de constater l&#8217;importance prise&#160; par les projets collaboratifs qui rev&#234;tent et r&#233;v&#232;lent des formes hybrides, afin de rendre compte de la multiplicit&#233; des pratiques, des ressentis et des points de vue tout en laissant s&#8217;exprimer les interrogations et les doutes.Les pratiques de cr&#233;ation en anthropologie audiovisuelle questionnent le r&#233;gime de croyance selon lequel les images formeraient un d&#233;calque objectif de la r&#233;alit&#233;. Dans le domaine du cin&#233;ma ethnographique, par exemple, l&#8217;exp&#233;rimentation cr&#233;ative favorise le d&#233;passement des limites du cin&#233;ma direct d&#8217;observation qui, malgr&#233; sa richesse descriptive, procure trop souvent le sentiment de passer &#224; c&#244;t&#233; de l&#8217;objectif initial d&#8217;une restitution de la profondeur anthropologique des situations appr&#233;hend&#233;es.Tandis que les outils de cr&#233;ation et d&#8217;analyse des donn&#233;es s&#8217;enrichissent et que les m&#233;thodes de recherche sur le terrain&#160; se transforment, de nouvelles formes de narration s&#8217;&#233;laborent. En cons&#233;quence, les questionnements portant sur les notions d&#8217;auteur, de sc&#233;nario, de personnage, de r&#233;cit ou encore d&#8217;&#233;criture documentaire quittent le hors-champ de la pens&#233;e anthropologique pour s&#8217;&#233;tablir comme des objets de r&#233;flexion incontournables. Nous accueillerons avec int&#233;r&#234;t les interventions qui traiteront tant des fondements &#233;pist&#233;mologiques de la cr&#233;ation au sein de notre discipline, que de l&#8217;hybridit&#233; des cr&#233;ations contemporaines et de leurs implications th&#233;oriques. Modalit&#233;s de propositionles propositions doivent comporter le titre, un court r&#233;sum&#233; de 300 caract&#232;res et un r&#233;sum&#233; de 250 mots .La date limite est fix&#233;e au 28 novembre et les propositions doivent &#234;tre envoy&#233;es directement sur le site de l'EASA: http://www.nomadit.co.uk/easa/easa2012/panels.php5?PanelID=1269English versionPresentationConvenors        Nadine Wanono (CNRS)             Gilles Remillet (Universit&#233; Paris Ouest Nanterre La d&#233;fense (ex-Paris X))     AbstractThe process of gathering anthropological knowledge is today a subject of research in itself ; however, studies focusing on the exchanges between research, information technology and artistic creation (photography, film, sounds, multimedia, fine arts&#8230; etc) are still marginal.Yet these associations are well established and are undeniably generating renewed interest. Indeed we cannot underestimate the importance of collaborative projects which focus on hybrid forms, in order to describe the multiplicity of practices, experiences and viewpoints, while still taking into account whatever doubts and uncertainties may arise.The mechanisms of creation in audiovisual anthropology question the belief system which hold that images alone can provide an objective reproduction of reality. In the field of ethnographic film, for example, creative experimentation allows one to go beyond the limits of direct [observational] cinema which, despite its descriptive richness, can too often appear to miss some of the initial aims of rendering the anthropological depth of the situations being filmed.As the tools of creation and data interpretation are getting richer and the methodology of fieldwork is being transformed, new forms of narration are coming into being. In this context, questions need to be asked about the notions of authorship, script, character, narrative and documentary storytelling and are no longer removed from anthropological thinking - they have inescapably become important subjects for reflection.We welcome with interest participants who would like to look at the epistemiological foundations of creation in our field, as well as the hybrid nature of contemporary creations and their theoretical implications.&#160;SubmissionsKey words&#160;: audiovisual anthropology, ethnographic film, creation, hybrid nature, collaborative project, digital.The Dead line is the 28th of November. Please register your proposal directly on the ESA webpage&#160;: http://www.nomadit.co.uk/easa/easa2012/panels.php5?PanelID=1269Proposals should consist of a paper title, a (very) short abstract of 300 characters, and an abstract of 250 words.