[et_pb_section bb_built=\u00a0\u00bb1″ next_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ module_id=\u00a0\u00bbimage-page-type\u00a0\u00bb width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″][et_pb_image admin_label=\u00a0\u00bbImage 1920 x 1080″ _builder_version=\u00a0\u00bb3.22.1″ src=\u00a0\u00bbhttps:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2023\/09\/illustration-Jacoda.png\u00a0\u00bb module_id=\u00a0\u00bbimage-page\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ \/][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbl\u00c8gende\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bblegende\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n
Patrick Jagoda & Marc Downie, Innermost<\/em> (2019) Still from stereoscopic installation showing an \u201cimpossible medium\u201d that looks like charcoal or chalk, flickers like a zoetrope and hovers in 3D.<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbcontenu\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n Mati\u00e8res et r\u00e9gimes sensibles des virtuels num\u00e9riques<\/strong><\/p>\n Une cartographie conceptuelle des \u00e9critures et des formes visuelles et sonores exp\u00e9rimentales issues du d\u00e9veloppement des technologies num\u00e9riques et cybern\u00e9tiques.\u00a0<\/strong><\/p>\n Texte de pr\u00e9sentation complet<\/a><\/p>\n Programme t\u00e9l\u00e9chargeable<\/a><\/p>\n Contact : olga.kobryn@wordpress-test.app.u-pariscite.fr<\/a><\/p>\n English below<\/p>\n Elsa Boyer (Ecole des Arts D\u00e9coratifs, M\u00e9ridien Cultures et pratiques du num\u00e9rique)<\/p>\n Olga Kobryn (Cerilac, universit\u00e9 Paris Cit\u00e9)<\/p>\n Giusy Pisano (IRCAV, Sorbonne Nouvelle et ENS Louis-Lumi\u00e8re)<\/p>\n Le monde de l\u2019art et l\u2019acte de cr\u00e9ation ont \u00e9t\u00e9 profond\u00e9ment marqu\u00e9s lors des derni\u00e8res d\u00e9cennies par la reconfiguration et la complexification du rapport entre l\u2019homme et la machine, d\u2019une part, et des circulations accrues entre les espaces physique et virtuel, d\u2019autre part. La\u00a0 transformation num\u00e9rique de l\u2019acte, du geste de cr\u00e9ation et de la mati\u00e8re m\u00eame de l\u2019\u0153uvre – du cyberespace \u00e0 la sph\u00e8re des donn\u00e9es – pose des questions esth\u00e9tiques \u00e0 un niveau aussi bien formel – confirmation des formes processuelles, performatives, g\u00e9n\u00e9ratives, immersives, \u00e9co-po\u00e9tiques, etc.-, qu\u2019\u00e9thique et politique avec la prolif\u00e9ration des th\u00e9ories philosophiques \u00e9largissant le point de vue anthropocentrique aux id\u00e9es de l’\u00e9cocentrisme, de biopolitique, ou encore de la techno-diversit\u00e9. La notion d\u2019\u00e9criture qui pr\u00e9c\u00e8de et compose l\u2019acte d\u2019immersion appara\u00eet centrale dans un monde d’images, de sons et de narrations o\u00f9 le code, l’algorithme et la technologie cybern\u00e9tique remplacent la production des repr\u00e9sentations par empreinte, et produisent des formes g\u00e9n\u00e9ratives qui conf\u00e8rent un certain pouvoir d\u2019imagination \u00e0 la machine.<\/p>\n Notre s\u00e9minaire se donne pour but d\u2019analyser, en premier lieu, le potentiel de production et d\u2019\u00e9criture de nouvelles formes, textures et de proc\u00e9d\u00e9s immersifs \u00e0 travers un certain nombre d\u2019approches th\u00e9oriques. En deuxi\u00e8me lieu, nous t\u00e2cherons de r\u00e9pertorier la vari\u00e9t\u00e9 des gestes critiques que d\u00e9ploient certaines propositions artistiques \u00e0 m\u00eame les m\u00e9diums virtuels (la saturation, le retournement, le d\u00e9placement, l\u2019humour).<\/p>\n Contact\u00a0: olha.kobryn@gmail.com<\/strong><\/p>\n Calendrier : 10\/10, 20\/11, 29\/01, 29\/02, 04\/03 11\/03, 25\/03, 06\/05, 27\/05<\/p>\n Descriptif des s\u00e9ances\u00a0:\u00a0<\/p>\n 10\/10,\u00a018h-20h<\/b> : Lev Manovich,\u00a0artiste, \u00e9crivain, th\u00e9oricien des nouveaux m\u00e9dias, professeur d’informatique au Graduate Center de la City University de New York et directeur du Cultural Analytics Lab.<\/p>\n Des nouveaux m\u00e9dias \u00e0 l’esth\u00e9tique artificielle : approches critiques \/<\/i><\/b>From New Media to Artificial Aesthetics : critical approaches.<\/span><\/i><\/b><\/p>\n Conf\u00e9rence suivie d’une discussion avec Antonio Somaini<\/b><\/p>\n Conf\u00e9rence en anglais – traduction simultan\u00e9e en fran\u00e7ais<\/em><\/p>\n A l\u2019occasion de cette conf\u00e9rence Lev Manovich reviendra d\u2019abord sur la gen\u00e8se de son \u0153uvre majeure The Language of New Media<\/i>, MIT Press, 2001 (Le Langage des nouveaux m\u00e9dias<\/i>,\u00a0Les Presses du R\u00e9el, 2010). Cet ouvrage constitue la <\/i>r\u00e9f\u00e9rence dans le domaine de la r\u00e9flexion sur l\u2019histoire, l\u2019arch\u00e9ologie et la th\u00e9orie des m\u00e9dias num\u00e9riques. A travers de nombreuses analyses de films, Lev Manovich \u00e9labore un grand nombre de concepts et de discours-cl\u00e9s, notamment\u00a0: po\u00e9tique de la navigabilit\u00e9, interface homme-machine, montage spatial et composition, imagerie num\u00e9rique en tant que passage de \u00ab\u00a0remaniement de la r\u00e9alit\u00e9 au remaniement de ses images\u00a0\u00bb. Il pr\u00e9sentera ensuite ses r\u00e9centes recherches artistiques et th\u00e9oriques portant sur l\u2019esth\u00e9tique et les th\u00e9ories de l\u2019intelligence artificielle. Celles-ci sont expos\u00e9es dans l\u2019ouvrage co-\u00e9crit avec Emanuele Arielli Artificial Aesthetics: A Critical Guide to AI, Media and Design<\/i> (manovich.net<\/a>, November 2021\u2013September 2023).<\/p>\n https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/conference-de-lev-manovich\/<\/a><\/p>\n \u00a0<\/p>\n 20\/11 <\/strong>: Antonio Somaini, professeur de th\u00e9orie du cin\u00e9ma, des m\u00e9dias et de la culture visuelle \u00e0 l\u2019Universit\u00e9 Sorbonne Nouvelle, et membre senior de l\u2019Institut Universitaire de France (IUF).<\/p>\n 18h-20h, INHA, 2 rue Vivienne 75002 Paris, salle Mariette.<\/p>\n L\u2019intervention analysera le statut et les enjeux des images g\u00e9n\u00e9r\u00e9es par des algorithmes et des mod\u00e8les faisant partie du vaste champ de ce qu\u2019on appelle \u00ab intelligence artificielle \u00bb. On parlera des Generative Adversarial Networks (GAN) et des mod\u00e8les text-to-image (DALL-E 2, Stable Diffusion, Midjourney), en analysant plusieurs exemples provenant du champ de l\u2019art contemporain et de la culture visuelle. On s\u2019interrogera en particulier sur les nouveaux liens algorithmiques entre mots et images qui sont \u00e0 la base de ces mod\u00e8les, et sur la mani\u00e8re dont ils r\u00e9organisent profond\u00e9ment les relations entre le visible et l\u2019\u00e9non\u00e7able.<\/p>\n \u00a0<\/p>\n 29\/01<\/strong>\u00a0: R\u00e9mi Sagot-Duvauroux, \u00ab SpatialMedia \u00bb, ENSADLab, SACRe-PSL.<\/p>\n Par sa nature algorithmique, l’environnement virtuel calcul\u00e9 en temps r\u00e9el constitue un espace fonctionnel qui peut \u00eatre manipul\u00e9 par le sujet mais pouvant aussi contr\u00f4ler et contraindre ses mouvements et son exp\u00e9rience sensible. En fonction de la relation \u00e9mergente entre le sujet et le dispositif, les gestes de l\u2019attention et de l\u2019action se m\u00ealent \u00e0 des habitudes culturelles d\u2019images et d\u2019espaces sc\u00e9niques. Mon travail de recherche-cr\u00e9ation vise \u00e0 expliciter par des dispositifs exp\u00e9rimentaux, que la pratique du montage peut t\u00e9moigner d\u2019une puissance esth\u00e9tique tant dans la cr\u00e9ation que dans la r\u00e9ception d\u2019une \u0153uvre immersive discontinue. Il s\u2019agit d\u2019explorer un nouveau rapport \u00e0 la machine narrative, profitable \u00e0 l\u2019\u00e9mancipation du sujet, accordant son rythme corporel \u00e0 celui d\u2019un montage r\u00e9agissant en temps r\u00e9el \u00e0 sa pr\u00e9sence. J\u2019\u00e9tudie ainsi le mod\u00e8le d\u2019un \u00abcorps-monteur\u00bb en tension entre images et espaces, contraintes et agentivit\u00e9, cr\u00e9ation et d\u00e9tachement spectatoriel de la forme \u00e9mergente.\u00a0<\/strong><\/p>\n \u00a0<\/p>\n 29\/02<\/strong>\u00a0: Patrick Jagoda, Universit\u00e9 de Chicago.<\/p>\n<\/div>\n 18h-20h, INHA, 2 rue Vivienne 75002, salle Nicolas-Claude Fabri de Peiresc.<\/p>\n<\/div>\n In the 2020s, we have seen an unprecedented expansion of transmedia storytelling. While the constellation of \u201cWeb 3.0\u201d is arguably more of a buzzword than a present reality, we have seen the emergence of new or expanded technologies and forms, including augmented reality, virtual reality, artistic applications of AI and machine learning, play-to-earn games, and more. As people begin to pivot from social media such as Facebook, Instagram, and Twitter\/X toward environments such as Twitch, Discord, and virtual worlds, new forms of storytelling and performance are starting to come into existence.<\/p>\n During the COVID-19 pandemic, when live theater was not as readily available, artists began to experiment with the intersections of physical and virtual spaces in the form of networked performances.\u00a0While live networked video game play is already one well-established digital storytelling form that takes on occasional transmedia qualities, the incorporation of live performance into storytelling has not yet been equally available, understood, or explored. When combined with the medium specific properties of computation, both the human body and the play of embodied performance take on new aesthetic potentials.<\/p>\n This presentation turns to the case study of\u00a0Encounter<\/em>\u00a0(2023-2024): a hybrid media performance piece, which was created by the Fourcast Lab to explore the medium-specific qualities of and theories underlying live transmedia performance.\u00a0Encounter<\/em>\u00a0is a storytelling platform and proof-of-concept for improvised multiplayer live-action performance. The repayable\u00a0interactive experiences that make up this project combine\u00a0the narrative improvisation of a tabletop roleplaying game with real-time and responsive performance via a live-streaming platform. Instead of telling stories that depends on preset branching trees \u2060\u2014 a common technique in interactive storytelling and video games \u2060\u2014 this experience offers a more open-ended premise that can adopt any genre, depending on the types of responses offered by the audience. This emergent artistic form helps us think about how live performance changes when it brings together the transmedia, improvisational, and interactive dimensions of digital media aesthetics.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n 11\/03<\/strong> : Alexandre Gefen,\u00a0UMR7172, THALIM, CNRS \/ Universit\u00e9 Sorbonne Nouvelle \u2013 Paris3<\/p>\n 18h-20h, INHA, 2 rue Vivienne 75002, salle Nicolas-Claude Fabri de Peiresc.<\/p>\n On a beaucoup soulign\u00e9 comment les IA et leur vision machine mettent en question la notion de v\u00e9rit\u00e9 et m\u00eame l\u2019id\u00e9e de repr\u00e9sentation. Parmi les valeurs affect\u00e9es, l\u2019originalit\u00e9 et les notions qui l\u2019accompagnent (authenticit\u00e9, propri\u00e9t\u00e9, singularit\u00e9) semblent particuli\u00e8rement chamboul\u00e9es. Si les interrogations sur la singularit\u00e9 de l\u2019artiste ne sont pas nouvelles dans l\u2019histoire moderne de l\u2019art, il nous faut nous demander ce qu\u2019il reste de l\u2019originalit\u00e9 lorsqu\u2019elle est d\u00e9l\u00e9gu\u00e9e \u00e0 une IA et passe par une appropriation algorithmique de l\u2019originalit\u00e9 d\u2019autrui et de potentiels conformistes stochastiques. Entre la m\u00e9canisation de l\u2019innovation et les collaborations troublantes avec des non-humains, entrer dans la vall\u00e9e de l\u2019\u00e9tranget\u00e9 pour se confronter \u00e0 des d\u00e9j\u00e0-vus singuliers impose de r\u00e9fl\u00e9chir \u00e0 nouveaux frais \u00e0 l\u2019histoire conceptuelle de l\u2019art moderne.<\/p>\n \u00a0<\/p>\n 25\/03\u00a0:<\/strong> Cindy Coutant, Cit\u00e9 des Arts, Paris \/ La HEAD, Gen\u00e8ve.<\/p>\n 18h-20h, INHA, 2 rue Vivienne 75002, salle Nicolas-Claude Fabri de Peiresc.<\/p>\n En 1984, la chercheuse australienne Zo\u00eb Sofoulis appelle \u00e0 une perspective \u00absoucieuse de l\u2019\u00e9rotique et de la po\u00e9tique des outils.\u00a0\u00bb Pour Sofoulis, \u00ab\u00a0chaque outil est un po\u00e8me\u00a0\u00bb, et les op\u00e9rations \u00ab\u00a0sexo-s\u00e9miotiques\u00a0\u00bb et po\u00e9tiques \u00e0 l\u2019\u0153uvre dans la culture high tech entra\u00eenent des effets performatifs sur le maintien d\u2019un certain ordre symbolique et social qui, selon la chercheuse, cannibalise les corps et les terres, \u00ab\u00a0effondre\u00a0\u00bb le futur sur le pr\u00e9sent et \u00ab\u00a0extraterrestrialise\u00a0\u00bb ses artefacts excr\u00e9mentiels. Poursuivant l\u2019hypoth\u00e8se de Sofia, 40 ans plus tard, cette intervention permettra d\u2019examiner diff\u00e9rentes strat\u00e9gies visant \u00e0 d\u00e9membrer le grand r\u00e9cit de la technologie, notamment en retournant sa po\u00e9tique contre lui. Ce sera \u00e9galement l\u2019occasion de formuler l\u2019hypoth\u00e8se d\u2019une \u00e9rotique de la technologie alternative, postulant un autre fondement de l\u2019histoire des technologies o\u00f9 l\u2019inqui\u00e9tude des corps, l\u2019ind\u00e9termination des affects sont cruciaux ; o\u00f9 \u00e9chapper \u00e0 la capture dans le langage est une condition de la m\u00e9diation du monde.<\/p>\n \u00a0<\/p>\n 06\/05\u00a0:<\/strong> V\u00e9ronique Figini (ENS Louis Lumi\u00e8re), <\/strong>chercheure au CEMTI (Universit\u00e9 Paris 8), associ\u00e9e au CHS des mondes contemporains (Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne\/CNRS)\u00a0; Sophie Jehel<\/strong> sociologue des m\u00e9dias, professeure en sciences de l’information et de la communication \u00e0 l’Universit\u00e9 Paris 8, chercheure au Cemti, associ\u00e9e au Carism\u00a0; Sylvain Laub\u00e9\u00a0<\/strong>est ma\u00eetre de conf\u00e9rences au Centre Fran\u00e7ois Vi\u00e8te\/UBO et au Centre Europ\u00e9en de R\u00e9alit\u00e9 Virtuelle.<\/p>\n 18h-20h, INHA, 2 rue Vivienne 75002, salle Mariette. <\/strong><\/p>\n Notre intervention portera sur\u00a0les usages de la RV et de l’IA, dans la recherche en sciences humaines<\/strong>, \u00e0 partir de deux exp\u00e9riences. La premi\u00e8re est d\u00e9velopp\u00e9e au sein du CERV (Centre Europ\u00e9en de R\u00e9alit\u00e9 Virtuelle) \u00e0 Brest ; la seconde est men\u00e9e dans le cadre de l’atelier-laboratoire \u00ab\u00a0la sociophotographie enqu\u00eate sur la transition num\u00e9rique\u00a0\u00bb (Universit\u00e9 Paris 8\/ENS Louis-Lumi\u00e8re Photographie\/ArTeC) centr\u00e9 sur l’image comme outil critique du num\u00e9rique.<\/p>\n Sylvain Laub\u00e9 (Universit\u00e9 de Bretagne Occidentale\/CERV) pr\u00e9sentera dans un premier temps le projet ANR Lab In Virtuo et ses r\u00e9sultats, autour des concepts d’EVIRS (Environnement Virtuel Intelligent R\u00e9aliste Sensoriel) et de PICS (paysages industriels culturels sensoriels). Il s’appuiera notamment sur le projet \u00ab\u00a0Brest Time Machine\u00a0\u00bb concernant l’histoire de l’arsenal de Brest, du CERV. Quant \u00e0 Sophie Jehel (Universit\u00e9 Paris 8) et V\u00e9ronique Figini (ENS Louis-Lumi\u00e8re), elles expliciteront le concept de sociophotographie forg\u00e9 au sein de l’atelier-laboratoire qu’elles animent depuis cinq ans. Elles exposeront un choix de travaux d’\u00e9tudiant.es, des cr\u00e9ations document\u00e9es par l’enqu\u00eate qui ont en commun d’\u00eatre des \u00ab\u00a0imaginaires critiques du num\u00e9rique\u00a0\u00bb, fruits d’exp\u00e9rimentations techniques hybrides propices \u00e0 la r\u00e9flexivit\u00e9. Dans un second temps, nous restituerons \u00e0 trois voix et dans une approche dialogu\u00e9e et probl\u00e9matis\u00e9e, les premiers r\u00e9sultats de cette \u00ab\u00a0pluridisciplinarit\u00e9 heureuse\u00a0\u00bb (J.-C. Passeron), en insistant sur les dimensions tant m\u00e9thodologique et \u00e9pist\u00e9mologique (ontologique ?) que culturelle, sociale et esth\u00e9tique.<\/p>\n \u00a0<\/p>\n 27\/05\u00a0: Laurent V\u00e9ray<\/strong>, historien du cin\u00e9ma, est professeur a\u0300 l\u2019universit\u00e9 Sorbonne Nouvelle et chercheur \u00e0 l\u2019IRCAV. Il est \u00e9galement membre du conseil scientifique de l\u2019INA.<\/p>\n 18h-20h, INHA, 2 rue Vivienne 75002, salle Nicolas-Claude Fabri de Peiresc.<\/strong><\/p>\n Cette intervention se situe dans le cadre d\u2019une r\u00e9flexion r\u00e9cente sur les usages de l’IA dans le domaine des images d’archives et des formes audiovisuelles de l\u2019Histoire. Pour cela, il s\u2019agira de revenir sur l\u2019id\u00e9e d\u2019une continuit\u00e9, ou d\u2019une v\u00e9ritable rupture, avec des pratiques plus anciennes d\u2019interventions sur l\u2019archive, sonore ou visuelle, pour r\u00e9pondre \u00e0 d\u2019autres enjeux que celui de la preuve (esth\u00e9tique, \u00e9motionnels, manipulation de la v\u00e9rit\u00e9\u2026). Cela implique, entre autres, d’aborder des questions philosophiques, historiques, juridiques et \u00e9thiques que posent les technologies li\u00e9es \u00e0 l’IA dans le domaine des repr\u00e9sentations du pass\u00e9 et du rapport que l’on peut avoir aux traces de ce dernier.<\/p>\n ————————————————-<\/p>\n The artworld and the very act of creation have been deeply affected in recent decades by the reconfiguration and complexification of the relationship between human, nature, and machine, on the one hand, and between physical and virtual space, on the other. The development of new technologies has transformed knowledge, creation, and the very matter of the artwork into clusters and configurations of data, codes, and generative forms. The digital transformation of the creative act and gesture, as well as the very matter of the art(media)work – from cyberspace to the datasphere – raises several aesthetic questions on a formal level – confirmation of processual, performative, generative, immersive, eco-poetic forms etc. which needs to be theoretically defined – as well as on an ethical and political level, with the proliferation of philosophical theories extending the anthropocentric point of view to include ideas of ecocentrism, biopolitics and techno-diversity.<\/p>\n The notion of writing, which precedes and composes the very act of immersion, appears as a central one in a world of images, sounds and narrations where code, algorithm, and cybernetic technology, on the one hand, replace the production of representations by imprint and, on the other, produce generative forms that confer a certain power of imagination on the machine.<\/p>\n Our research seminar aims first to identify and to analyze, through several theoretical approaches, the potential of digital technologies to produce new forms, textures, and immersive processes. Secondly, we will attempt to identify the critical potentialities of gestures deployed by several artistic proposals in virtual media (saturation, reversal, displacement, humor).<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ specialty=\u00a0\u00bboff\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″ _builder_version=\u00a0\u00bb3.19.11″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbArticles similaires\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1″]<\/p>\n [\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.21″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb header_level=\u00a0\u00bbh4″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Patrick Jagoda & Marc Downie, Innermost (2019) Still from stereoscopic installation showing an \u201cimpossible medium\u201d that looks like charcoal or chalk, flickers like a zoetrope and hovers in 3D. <\/p>\n Pr\u00e9sentationMati\u00e8res et r\u00e9gimes sensibles des virtuels num\u00e9riquesUne cartographie conceptuelle des \u00e9critures et des formes visuelles et sonores exp\u00e9rimentales issues du d\u00e9veloppement des technologies num\u00e9riques… Lire la suite S\u00e9minaire de l’axe EMOI \u00ab\u00a0Mati\u00e8res et r\u00e9gimes sensibles des virtuels num\u00e9riques\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":3855,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[27],"tags":[],"class_list":["post-3854","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-seminaire"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3854","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=3854"}],"version-history":[{"count":18,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3854\/revisions"}],"predecessor-version":[{"id":4331,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3854\/revisions\/4331"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/3855"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=3854"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=3854"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=3854"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Pr\u00e9sentation<\/h3>\n
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