{"id":15821,"date":"2021-02-15T19:01:16","date_gmt":"2021-02-15T18:01:16","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=15821"},"modified":"2021-02-15T19:01:16","modified_gmt":"2021-02-15T18:01:16","slug":"les-contagions-visuelles-au-prisme-des-nouveaux-medias","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-evenement\/les-contagions-visuelles-au-prisme-des-nouveaux-medias\/","title":{"rendered":"Les Contagions visuelles au prisme des nouveaux m\u00e9dias"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" pubdate datetime=\"2021-02-12T22:10:12+01:00\">12 f\u00e9vrier 2021<\/time>\t\t\t\t<\/div>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-images-cinema-medias-audiovisuels-et-industries-culturelles\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/images-cinema-medias-audiovisuels-et-industries-culturelles\/\" title=\"Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles\"><span class=\"termslist-itemname\">Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<li class=\"termslist-item tax-thematique term-numerique-strategies-dispositifs-usages\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/numerique-strategies-dispositifs-usages\/\" title=\"Num\u00e9rique : strat\u00e9gies, dispositifs et usages\"><span class=\"termslist-itemname\">Num\u00e9rique : strat\u00e9gies, dispositifs et usages<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>15\/04\/2021<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type d\u2019\u00e9v\u00e9nement<\/span><span class=\"doubledot\"><\/span> <strong>Colloque<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-coordinators\">\n<h3 class=\"zn-singledetail-section-title\">Coordinateurs<\/h3>\n<ul class=\"zn-singledetail-coordinators-list\">\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Thibaut <\/span> <span>Vaillancourt <\/span>, <span>University of Konstanz \/ Paris Nanterre<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:thibaut.vaillancourt@gmail.com\">thibaut.vaillancourt@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>B\u00e9atrice <\/span> <span>Joyeux-Prunel <\/span>, <span>University of Geneva<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Thibaut Vaillancourt<\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:thibaut.vaillancourt@gmail.com\">thibaut.vaillancourt@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-eventinfo\">\n<div class=\"zn-singledetail-eventinfo-inner\">\n<div class=\"zn-singledetail-eventdates\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Dates de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><\/p>\n<ul class=\"zn-singledetail-eventdates-list\">\n<li class=\"zn-singledetail-eventdates-item\">\n\t\t\t\t\t\t\t\tDu <time class=\"event-start-time\" datetime=\"2021-09-13T00:00:00+00:00\">13\/09\/2021<\/time> au <time class=\"event-end-time\" datetime=\"2021-09-15T00:00:00+00:00\">15\/09\/2021<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<p class=\"zn-singledetail-eventplace\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Lieu de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><br \/>\n\t\t\t\t\t\t<span class=\"zn-singledetail-eventplace-adr\"><\/p>\n<p>\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-place\">Universit\u00e9 de Gen\u00e8ve<\/span>,<\/p>\n<p>\t\t\t\t\t\t\t\t\t\t\t\t, <span class=\"adr-country\">Suisse<\/span><br \/>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-annonce wig-content\">\n<p>Comment la circulation des images et la diffusion de certaines plus que d\u2019autres prennent-elles forme dans les cultures visuelles informatis\u00e9es&#160;? Le jeu-vid\u00e9o, la culture Internet, ou l\u2019art num\u00e9rique t\u00e9moignent selon diff\u00e9rentes dynamiques d\u2019une circulation accrue des images \u00e0 l\u2019\u00e9chelle globale. Celle-ci exploite autant les logiques de l\u2019interm\u00e9dialit\u00e9 que celles de l\u2019hybridation et de la remixabilit\u00e9, et inscrit ces champs de production dans une mondialisation par les images que les chercheur.se.s n\u2019ont pas suffisamment \u00e9tudi\u00e9e. Les contagions visuelles, d\u2019un m\u00e9dium \u00e0 un autre et d\u2019un champ \u00e0 un autre, sont aussi des ph\u00e9nom\u00e8nes privil\u00e9gi\u00e9s pour mettre en lumi\u00e8re les effets des nouveaux m\u00e9dias sur les cultures contemporaines.<\/p>\n<p>Les dispositifs vid\u00e9oludiques, en particulier, ont port\u00e9 une culture de l\u2019image intrins\u00e8quement mondialis\u00e9e, ayant joui d\u2019un paradigme technologique favorable \u00e0 sa diffusion et \u00e0 des ph\u00e9nom\u00e8nes de contagion. Le ph\u00e9nom\u00e8ne est ample, de la circulation des images de jeux-vid\u00e9o sur diff\u00e9rents supports \u00e0 leur reprise par des artistes contemporains, comme par des usagers d\u2019Internet (<em>memers<\/em>, vid\u00e9astes) qu\u2019on appelle parfois prosommateurs. Dans la m\u00eame perspective, ladite culture Internet subsume un grand nombre de pratiques proches du <em>Culture jamming<\/em> ou de la <em>Remix culture<\/em>. Celles-ci dialoguent avec des m\u00e9diums qui leur sont ant\u00e9rieurs (peinture, cin\u00e9ma, jeu-vid\u00e9o, t\u00e9l\u00e9vision), un dialogue qui incite \u00e0 interroger le caract\u00e8re novateur ou plus ancien de la synth\u00e8se m\u00e9diale op\u00e9r\u00e9e par l\u2019ordinateur. Les arts num\u00e9riques, envisag\u00e9s comme un domaine de recherche et de cr\u00e9ation, \u00e9tendent encore ce dialogue et lui donnent une perspective r\u00e9flexive et critique, dont le <em>Game art <\/em>ou le <em>Net art <\/em>sont des exemples saillants.<\/p>\n<p>Ce colloque s\u2019int\u00e9ressera aux diff\u00e9rentes dynamiques \u00e0 l\u2019\u0153uvre dans la circulation des images, aux ph\u00e9nom\u00e8nes de transmission de contenus visuels et de diffusion de type \u00e9pid\u00e9mique, autour de trois champs&#160;: dispositifs vid\u00e9oludiques, culture Internet, et arts num\u00e9riques. Il appelle des questions vari\u00e9es qui pourront \u00eatre abord\u00e9es selon diff\u00e9rents ancrages disciplinaires. Ces questions s\u2019adressent entre autres \u00e0 l\u2019histoire de l\u2019art, aux \u00e9tudes culturelles et visuelles, aux \u00e9tudes m\u00e9diales et \u00e0 l\u2019esth\u00e9tique, sans s\u2019interdire de consid\u00e9rer les aspects g\u00e9ographiques et socio-politiques\u00a0des contagions visuelles \u00e0 l\u2019\u00e2ge des nouveaux m\u00e9dias&#160;:<\/p>\n<p><strong>Comment circulent les images entre diff\u00e9rents m\u00e9diums informatis\u00e9s<\/strong>&#160;? Comment le passage d\u2019une image entre diff\u00e9rents m\u00e9diums affecte-t-il cette derni\u00e8re&#160;? Quels sont les effets \u2013 individuels, collectifs, culturels, esth\u00e9tiques \u2013 de telles contagions&#160;? Comment l\u2019artification d\u2019images issues de l\u2019industrie culturelle s\u2019articule-t-elle dans diff\u00e9rentes cr\u00e9ations de l\u2019art contemporain&#160;? Comment les dynamiques de cr\u00e9ation permises par les nouveaux m\u00e9dias incitent la recherche acad\u00e9mique \u00e0 reconsid\u00e9rer certaines cat\u00e9gories fermement \u00e9tablies&#160;?<\/p>\n<p><strong>En quoi les circulations d\u2019images intensifi\u00e9es par Internet ont-elles une incidence sur la production et la r\u00e9ception de ces derni\u00e8res&#160;?<\/strong> En quoi l\u2019appropriation individuelle des images permise par Internet dans une logique de <em>Remix culture <\/em>change-t-elle le rapport que nous entretenons avec elles&#160;? Dans quelle mesure la dimension interactive ou relationnelle d\u00e9finit-elle notre rapport aux images dans le paradigme des nouveaux m\u00e9dias&#160;?<\/p>\n<p><strong>Qu\u2019est-ce qui circule dans un m\u00e8me&#160;?<\/strong> Un profil psycho-social&#160;? Une formule de pathos&#160;? Comment articuler ces contagions visuelles \u00e0 leurs effets individuels et collectifs, selon quels mod\u00e8les heuristiques&#160;? Quels liens peut-on observer entre la diffusion globale des dispositifs vid\u00e9oludiques et l\u2019int\u00e9gration progressive de ces m\u00e9diums aux champs de l\u2019art contemporain&#160;? Quels liens ou distinctions peut-on \u00e9tablir entre le d\u00e9terminisme m\u00e9dia-technique et la dimension s\u00e9mantique des contagions visuelles&#160;?<\/p>\n<p>De telles questions peuvent mobiliser des orientations m\u00e9thodologiques diverses&#160;: \u00e9tudes de cas, approches empiriques, historiques, quantitatives, m\u00e9diologiques, propositions d\u2019appareillages conceptuels pour mieux percevoir les ph\u00e9nom\u00e8nes de contagions visuelles. Les propositions de recherche-cr\u00e9ation sont \u00e9galement les bienvenues, dans la mesure o\u00f9 elles peuvent faire l\u2019objet d\u2019une pr\u00e9sentation par visioconf\u00e9rence, si une \u00e9pid\u00e9mie moins dr\u00f4le venait continuer ses m\u00e9faits.<\/p>\n<h3><strong>D\u00e9lais et modalit\u00e9s d\u2019envoi<\/strong><\/h3>\n<p>Ce colloque s\u2019inscrit dans le cadre du projet Visual contagions, associ\u00e9 \u00e0 la chaire des Humanit\u00e9s num\u00e9riques de l\u2019Universit\u00e9 de Gen\u00e8ve, avec le soutien financier du Fonds national suisse pour la recherche.<\/p>\n<p><em>Conf\u00e9rencier.e.s invit\u00e9.e.s&#160;:\u00a0<\/em>Patrick Jagoda (University of Chicago), Knut Ebeling (Kunsthochschule Berlin)<\/p>\n<p><em>Artistes invit\u00e9.e.s&#160;: <\/em>M\u00e9lanie Courtinat, Brice Roy<\/p>\n<p>Les propositions seront \u00e0 envoyer \u00e0 l\u2019adresse suivante <strong>avant le 15 avril 2021<\/strong>&#160;: <a href=\"mailto:thibaut.vaillancourt@gmail.com\">thibaut.vaillancourt@gmail.com<\/a><\/p>\n<p>Merci d\u2019intituler le message de la mani\u00e8re suivante&#160;: [CFP21]&#160;; et de nommer le fichier de la mani\u00e8re suivante&#160;: CFP21_Familyname_shorttitle.pdf, avec au sein du m\u00eame document un r\u00e9sum\u00e9 en anglais de 300 mots maximum, ainsi qu\u2019un C.V. en anglais. Le retour sur les propositions est pr\u00e9vu pour le 1er juin 2021.<\/p>\n<p>Le colloque aura lieu en anglais et en fran\u00e7ais, les 13, 14 et 15 septembre 2021.<\/p>\n<h3><strong>Comit\u00e9 d\u2019organisation<br \/>\n<\/strong><\/h3>\n<p>Thibaut Vaillancourt (Universit\u00e9 de Konstanz \/ Paris Nanterre),<br \/>\nB\u00e9atrice Joyeux-Prunel (Universit\u00e9 de Gen\u00e8ve \/ ENS Paris),<br \/>\nAnthony Bekirov (Universit\u00e9 de Gen\u00e8ve),<br \/>\nRui-Long Monico (Universit\u00e9 de Gen\u00e8ve).<\/p>\n<h3><strong>Comit\u00e9 scientifique\u00a0 <\/strong><\/h3>\n<p>Thibaut Vaillancourt (Universit\u00e9 de Konstanz \/ Paris Nanterre), B\u00e9atrice Joyeux-Prunel (Universit\u00e9 de Gen\u00e8ve \/ ENS Paris), Anthony B\u00e9kirov (Universit\u00e9 de Gen\u00e8ve), Rui-Long Monico (Universit\u00e9 de Gen\u00e8ve), Jean-Paul Fourmentraux (Aix-Marseille Universit\u00e9 \/ EHESS), Chu-Yin Chen (Universit\u00e9 Paris 8 \/ National Tsing Hua University), Sophie Daste (Universit\u00e9 Paris 8, CNAM-ENJMIN)<\/p>\n<p>* *<\/p>\n<h2>ENGLISH VERSION<\/h2>\n<p><strong>Visual Contagions through the Lens of New Media\u00a0<\/strong><\/p>\n<p>What is the form assumed by the circulation of images, and the diffusion of some more than other, in digital and visual culture&#160;? Video games, Internet culture or digital art among other, are all a testament to a high-speed circulation of images on a global scale. The forms this circulation can assume, such as intermediality hybridation or remixability, become part of a \u201cglobalization through images\u201d \u2013 a topic understudied as of yet. The phenomena of visual contagions from a medium to another and from a field to another, are also prime examples of how new media infect contemporary culture.<\/p>\n<p>Video-game apparatuses in particular are the vector of an inherently globalized culture of image, thanks to a technological paradigm which enabled its diffusion and \u201ccontagion\u201d phenomena. This type of phenomenon is far-ranging, from the propagation of video-game images on various interfaces, to their adaptation by contemporary artists or Internet users (\u201cmemers,\u201d streamers, content creators, \u2026) so-called \u201cprosumers.\u201d In the same vein, Internet culture comprises a great deal of practices related to culture jamming or \u201cremix culture.\u201d Such practices interact with earlier mediums (painting, cinema, video games, television), in a way which leads us to reevaluate the usual understanding of computers as \u201cmeta-medium.\u201d Digital art \u2013 mainly game art or net art \u2013 is a further example of this interaction, if not in a more theoretical and critical perspective.<\/p>\n<p>This symposium will look at the various dynamics at play in the circulation of images, the phenomena of transmission of visual content and diffusion of epidemic nature, following three axes&#160;: video-game apparatuses, Internet culture, and digital arts. We welcome problematics with an interdisciplinary approach, utilizing the tools from art history, cultural and visual studies, media studies, and aesthetics. Geographical and socio-political aspects of visual contagions in the era of new media will be appreciated topics also. These problematics include, without being restricted to, the following questions&#160;:<\/p>\n<p>How do the images circulate between different digital mediums&#160;? How does the passage from one medium to another affect an image&#160;? What are the effects of such contagions \u2013 on an individual, collective, cultural, or aesthetical level&#160;? How does the so-called \u201cartification\u201d of images from the cultural industry work in the various creations of contemporary art&#160;? How do creative dynamics, aided by the new media, force us to reevaluate some notions \u2013 such as creator, spectator, authorship, original, etc. \u2013 firmly established in the academic world&#160;?<\/p>\n<p>In what way does the circulation of images, intensified by the Internet, alter the production and reception of such images&#160;? How does the individual appropriation of images on the Internet transform our connection to them&#160;? And how does this interactive\/relational dimension inform our connection to images within the paradigm of new media&#160;?<\/p>\n<p>What exactly is being circulated in memes&#160;? A psychosocial profile&#160;?\u00a0 A pathos formula&#160;? How can we correlate these visual contagions to their individual or collective effects&#160;? Which heuristic models should be employed to this end&#160;? What is the relationship between the global diffusion of video-game apparatuses and their progressive integration into contemporary art&#160;? How can we compare and\/or differentiate media-technological determinisms and the semantic dimension of visual contagions&#160;?<\/p>\n<p>These issues may be treated using various approaches&#160;: case studies, empirical, historical, computational, mediological methods, speculative conceptualizations of visual contagion phenomena, etc. Creative interventions are also welcome, as long as they can be streamed &#8211; in the case we were to still be under the yoke of a more serious pandemic.<\/p>\n<h3><strong>Deadlines and guidelines<\/strong><\/h3>\n<p>This symposium is part of the Visual Contagions project, affiliated with the chair for Digital Humanities at the University of Geneva, Switzerland, and kindly funded by the National Swiss Fund for Research (<em>Fonds national suisse pour la recherche<\/em>, aka FNS).<\/p>\n<p><em>Keynotes&#160;: <\/em>Patrick Jagoda (University of Chicago), Knut Ebeling (Kunsthochschule Berlin)<\/p>\n<p><em>Invited artists&#160;: <\/em>M\u00e9lanie Courtinat, Brice Roy<\/p>\n<p>Please send your abstracts to the following e-mail address by April 15, 2021&#160;: <a href=\"mailto:thibaut.vaillancourt@gmail.com\">thibaut.vaillancourt@gmail.com<\/a>.<\/p>\n<p>Be aware that your e-mail should include [CFP21] as its header&#160;; a PDF file with your family name and a short title following the format&#160;: CFP21_Familyname_shorttitle.pdf&#160;; a 300-word abstract and an English resume within the same document.<\/p>\n<p>Feedback on propositions is expected for the first of June, 2021.<\/p>\n<p>The conferences will be mainly given in English and French, on the 13<sup>th<\/sup>, 14<sup>th<\/sup> and 15<sup>th<\/sup> of September 2021.<\/p>\n<h3><strong>Organising committee <\/strong><\/h3>\n<p>Thibaut Vaillancourt (University of Konstanz \/ Paris Nanterre),<br \/>\nB\u00e9atrice Joyeux-Prunel (University of Geneva \/ ENS Paris),<br \/>\nAnthony B\u00e9kirov (University of Geneva),<br \/>\nRui-Long Monico (University of Geneva).<\/p>\n<h3><strong>Scientific committee<br \/>\n<\/strong><\/h3>\n<p>Thibaut Vaillancourt (University of Konstanz \/ Paris Nanterre), B\u00e9atrice Joyeux-Prunel (University of Geneva \/ ENS Paris), Anthony Bekirov (University of Geneva), Rui-Long Monico (University of Geneva), Jean-Paul Fourmentraux (Aix-Marseille University \/ EHESS), Chu-Yin Chen (University of Paris 8 \/ National Tsing Hua University), Sophie Daste (University of Paris 8, CNAM-ENJMIN).<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-culture-numerique\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/culture-numerique\/\" title=\"Culture num\u00e9rique\"><span class=\"termslist-itemname\">Culture num\u00e9rique<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-humanites-numeriques\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/humanites-numeriques\/\" title=\"Humanit\u00e9s num\u00e9riques\"><span class=\"termslist-itemname\">Humanit\u00e9s num\u00e9riques<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-image\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/image\/\" title=\"Image\"><span class=\"termslist-itemname\">Image<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-mediation\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/mediation\/\" title=\"M\u00e9diation\"><span class=\"termslist-itemname\">M\u00e9diation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mis en ligne le 12 f\u00e9vrier 2021 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 15\/04\/2021 Type de r\u00e9ponse R\u00e9sum\u00e9 [&hellip;]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29,57],"tags":[87,99,165,129],"thematique":[35,39],"sfsic":[],"class_list":["post-15821","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-culture-numerique","tag-humanites-numeriques","tag-image","tag-mediation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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