<\/p>\n
\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 08\/10\/2023<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType d\u2019\u00e9v\u00e9nement<\/span><\/span> Colloque<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGroupe IMPEC<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgroupe.impec@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite du colloque<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\n\n\t\t\t\t\t\tDates de l\u2019\u00e9v\u00e9nement<\/span><\/span><\/p>\n\n\n\t\t\t\t\t\t\t\tDu 03\/07\/2024<\/time> au 05\/07\/2024<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\n\t\t\t\t\t\tLieu de l\u2019\u00e9v\u00e9nement<\/span><\/span>\n\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\tAix-en-Provence<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\nLe Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l’innovation et \u00e0 l\u2019\u00e9thique. Il se tiendra du 3 au 5 juillet 2024 \u00e0 Aix en Provence.<\/p>\nPr\u00e9sentation<\/h2>\nLe colloque IMPEC et son groupe de recherche c\u00e9l\u00e9breront en 2024 leur dix ans d\u2019existence<\/strong>. Dix ann\u00e9es de r\u00e9flexions riches et vari\u00e9es autour des Interactions Multimodales Par \u00c9Cran<\/strong>. Cinq colloques depuis 2014 ont \u00e9t\u00e9 organis\u00e9s \u00e0 Lyon autour de th\u00e9matiques telles que l\u2019exploration de la pr\u00e9sence, du corps, des sensorialit\u00e9s et de l\u2019espace. Pour cette sixi\u00e8me \u00e9dition X\u00e8me anniversaire, le colloque IMPEC 2024 aura lieu \u00e0 Aix-en-Provence<\/strong> et propose de d\u00e9finir et comprendre les sp\u00e9cificit\u00e9s de la communication par \u00e9cran \u00e0 la lumi\u00e8re des notions de cr\u00e9ativit\u00e9, d\u2019innovation et d\u2019\u00e9thique.<\/strong><\/p>\nDe nombreuses d\u00e9finitions de la cr\u00e9ativit\u00e9 existent et le concept m\u00eame reste objet de discussions voire de controverses (Bonnardel, Girandola, Bonetto et Lubart, 2023). Nous retiendrons la d\u00e9finition dynamique et contextualis\u00e9e de Corazza et Lubart : \u00ab La cr\u00e9ativit\u00e9 est un ph\u00e9nom\u00e8ne ancr\u00e9 dans un contexte, qui requiert une originalit\u00e9 et une efficacit\u00e9 potentielles \u00bb (2021 : 5). La cr\u00e9ativit\u00e9 se d\u00e9cline en activit\u00e9s cr\u00e9atives majeures avec fort impact sur notre soci\u00e9t\u00e9 et en activit\u00e9s cr\u00e9atives plus communes et il existe un continuum entre les deux (Bonnardel et Lubart, 2019). Enfin, La cr\u00e9ativit\u00e9 m\u00e8ne \u00e0 des innovations, d\u00e9finie par le Manuel d\u2019Oslo (2018) comme \u00ab un produit ou un processus (ou une combinaison des deux) nouveau ou am\u00e9lior\u00e9 qui diff\u00e8re sensiblement des produits ou processus pr\u00e9c\u00e9dents d\u2019une unit\u00e9 et a \u00e9t\u00e9 mis \u00e0 la disposition d\u2019utilisateurs potentiels (produit) ou mis en \u0153uvre par l\u2019unit\u00e9 (processus) \u00bb. Ces innovations peuvent parfois trouver des limites pos\u00e9es par l\u2019\u00e9thique, entendue comme une r\u00e9flexion continue, \u00e9volutive, nourrie par l\u2019histoire de la pens\u00e9e et li\u00e9e \u00e0 une culture et [qui] identifie et interroge les valeurs et les normes, met en \u00e9vidence leurs \u00e9ventuels conflits, pour \u00e9clairer des choix individuels ou collectifs. \u00bb (CNPEN, 2021).<\/p>\nNous voudrions, lors de ce prochain colloque, interroger de mani\u00e8re plus sp\u00e9cifique l’impact ou la nature disruptive des technologies d’information et de communication dans les pratiques et les usages interactionnels, leur rapport \u00e0 l’innovation et \u00e0 la cr\u00e9ativit\u00e9, rapport qui est souvent occult\u00e9, peu pens\u00e9, tenu pour acquis. On pourra ainsi consid\u00e9rer la cr\u00e9ativit\u00e9 dans les \u00e9changes en ligne au travers de l’\u00e9tude de nouvelles pratiques et habitudes dans l’interaction qui \u00e9mergent \u00e0 l’intersection des affordances communicatives, des artefacts\u00a0interactionnels et des structures normatives de l’interaction m\u00e9di\u00e9e par un objet technique (Develotte et al., 2011 : 18). La perspective interactionniste permet d’envisager l’innovation et la cr\u00e9ativit\u00e9 dans leur historicit\u00e9 et leur processus, au travers d’\u00e9thiques et de normes, dans leurs aspects divergents ou convergents.<\/p>\nHuyghe (2017) nous rappelle que nous vivons dans un monde o\u00f9 l’innovation est \u00e9conomiquement syst\u00e9matis\u00e9e, que \u00ab le monde moderne a adopt\u00e9 la pouss\u00e9e technique comme principe d’intendance \u00bb (p.134) et que ces pouss\u00e9es techniques sont des \u00ab facteurs d’existence \u00bb qui modalisent des modes d’\u00eatre au monde et par l\u00e0, des pratiques (p. 136-7).<\/p>\nDepuis la crise du COVID, le t\u00e9l\u00e9travail s\u2019est g\u00e9n\u00e9ralis\u00e9 \u00e0 une partie importante de la population (en f\u00e9vrier 2022, 27 % des salari\u00e9s \u00e9taient en t\u00e9l\u00e9travail contre 4 % en 2019, selon l\u2019enqu\u00eate de la DARES). Par cons\u00e9quent, les applications de communication \u00e0 distance (visioconf\u00e9rence, messageries instantan\u00e9es, streaming) ont \u00e9t\u00e9 utilis\u00e9es massivement par des publics non form\u00e9s et non volontaires. Si l\u2019\u00e9tude de la communication m\u00e9di\u00e9e par ordinateur (Herring, 1996) n\u2019est pas nouvelle, les interactions multimodales n\u2019ont jamais \u00e9t\u00e9 aussi r\u00e9pandues que depuis les limitations impos\u00e9es par la pand\u00e9mie mondiale. Or, les communications \u00e0 distance sont propices aux malentendus pour des publics non form\u00e9s, non-volontaires et dans un contexte d\u2019urgence. L\u2019\u00e9tude des leviers pour pr\u00e9server la sant\u00e9 des t\u00e9l\u00e9travailleurs et soutenir leur performance met en \u00e9vidence que \u00ab les cons\u00e9quences du t\u00e9l\u00e9travail sur la r\u00e9gulation organisationnelle, sur les conditions de travail, sur l\u2019engagement, le bien-\u00eatre, voire sur des outils ou postures manag\u00e9riales, sont diverses, vari\u00e9es, parfois contradictoires \u00bb (Ch\u00eanevert et al. 2023, p. 16).<\/p>\nDe mani\u00e8re plus large, on peut consid\u00e9rer que le travail artistique et cr\u00e9atif repose non sur les innovations elles-m\u00eames, sur ces pouss\u00e9es techniques, mais sur un travail de \u00ab d\u00e9couverte \u00bb des \u00ab possibilit\u00e9s de cette pouss\u00e9e dans le sens d’une attention aux dispositions inutilis\u00e9es de son dispositif \u00bb (Huyghe, 2017 : 136). Pierre-Damien Huyghe (2022) distingue ainsi une logique d’innovation<\/em> propre \u00e0 notre monde capitaliste et qui permet de produire des appareils techniques selon une logique marchande d’expansion de ce qui est profitable \u00e9conomiquement \u00e0 la soci\u00e9t\u00e9, d’une logique d’invention<\/em> qui demande aux designers, artistes et bricoleurs d’\u00eatre attentifs aux potentiels des appareils au-del\u00e0 de leurs attentes initiales, c’est-\u00e0-dire \u00ab un travail d’\u00e9veil \u2013 attentif, actif, cr\u00e9atif, exp\u00e9rimental et exp\u00e9rientiel \u2013 envers leurs possibilit\u00e9s encore insoup\u00e7onn\u00e9es \u00bb (Citton, 2023).<\/p>\nPour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n\u00a0Axe A : Le monde du travail : collectifs, risques, in\u00e9galit\u00e9s et gestion \u00e9thique<\/strong><\/h2>\nLes interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\nLes questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n\n\nComment se sont reconfigur\u00e9es les routines professionnelles post-covid ? Comment les employeurs et leur management font-ils face aux in\u00e9galit\u00e9s\u00a0d\u2019acc\u00e8s au t\u00e9l\u00e9travail ou \u00e0 l\u2019espace de travail physique ?<\/li>\nComment proposer des formations innovantes et \u00e9thiques \u00e0 la hauteur des enjeux de ces interactions multimodales au travail ?<\/li>\nQuel est le v\u00e9cu des nombreux professionnels, quel que soit leur niveau de qualification, qui se trouvent confront\u00e9s \u00e0 des injonctions d\u2019interactions par \u00e9crans y compris par intelligence artificielle, d\u00e9sormais accessibles \u00e0 un plus grand nombre d\u2019organisations ?<\/li>\nQuel espace les communications multimodales par \u00e9cran laissent-elles en mati\u00e8re d\u2019autonomie au travail, de cr\u00e9ativit\u00e9 et de socialisation dans des collectifs ?<\/li>\nComment se saisir dans l\u2019enseignement en particulier, des technologies num\u00e9riques \u00e9ducatives afin d\u2019accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\n<\/ul>\n<\/div>\n\nAxe B : Pratiques artistiques\u00a0<\/strong><\/h2>\nLes \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType d\u2019\u00e9v\u00e9nement<\/span><\/span> Colloque<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGroupe IMPEC<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgroupe.impec@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite du colloque<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\n\n\t\t\t\t\t\tDates de l\u2019\u00e9v\u00e9nement<\/span><\/span><\/p>\n\n\n\t\t\t\t\t\t\t\tDu 03\/07\/2024<\/time> au 05\/07\/2024<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\n\t\t\t\t\t\tLieu de l\u2019\u00e9v\u00e9nement<\/span><\/span>\n\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\tAix-en-Provence<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\nLe Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l’innovation et \u00e0 l\u2019\u00e9thique. Il se tiendra du 3 au 5 juillet 2024 \u00e0 Aix en Provence.<\/p>\nPr\u00e9sentation<\/h2>\nLe colloque IMPEC et son groupe de recherche c\u00e9l\u00e9breront en 2024 leur dix ans d\u2019existence<\/strong>. Dix ann\u00e9es de r\u00e9flexions riches et vari\u00e9es autour des Interactions Multimodales Par \u00c9Cran<\/strong>. Cinq colloques depuis 2014 ont \u00e9t\u00e9 organis\u00e9s \u00e0 Lyon autour de th\u00e9matiques telles que l\u2019exploration de la pr\u00e9sence, du corps, des sensorialit\u00e9s et de l\u2019espace. Pour cette sixi\u00e8me \u00e9dition X\u00e8me anniversaire, le colloque IMPEC 2024 aura lieu \u00e0 Aix-en-Provence<\/strong> et propose de d\u00e9finir et comprendre les sp\u00e9cificit\u00e9s de la communication par \u00e9cran \u00e0 la lumi\u00e8re des notions de cr\u00e9ativit\u00e9, d\u2019innovation et d\u2019\u00e9thique.<\/strong><\/p>\nDe nombreuses d\u00e9finitions de la cr\u00e9ativit\u00e9 existent et le concept m\u00eame reste objet de discussions voire de controverses (Bonnardel, Girandola, Bonetto et Lubart, 2023). Nous retiendrons la d\u00e9finition dynamique et contextualis\u00e9e de Corazza et Lubart : \u00ab La cr\u00e9ativit\u00e9 est un ph\u00e9nom\u00e8ne ancr\u00e9 dans un contexte, qui requiert une originalit\u00e9 et une efficacit\u00e9 potentielles \u00bb (2021 : 5). La cr\u00e9ativit\u00e9 se d\u00e9cline en activit\u00e9s cr\u00e9atives majeures avec fort impact sur notre soci\u00e9t\u00e9 et en activit\u00e9s cr\u00e9atives plus communes et il existe un continuum entre les deux (Bonnardel et Lubart, 2019). Enfin, La cr\u00e9ativit\u00e9 m\u00e8ne \u00e0 des innovations, d\u00e9finie par le Manuel d\u2019Oslo (2018) comme \u00ab un produit ou un processus (ou une combinaison des deux) nouveau ou am\u00e9lior\u00e9 qui diff\u00e8re sensiblement des produits ou processus pr\u00e9c\u00e9dents d\u2019une unit\u00e9 et a \u00e9t\u00e9 mis \u00e0 la disposition d\u2019utilisateurs potentiels (produit) ou mis en \u0153uvre par l\u2019unit\u00e9 (processus) \u00bb. Ces innovations peuvent parfois trouver des limites pos\u00e9es par l\u2019\u00e9thique, entendue comme une r\u00e9flexion continue, \u00e9volutive, nourrie par l\u2019histoire de la pens\u00e9e et li\u00e9e \u00e0 une culture et [qui] identifie et interroge les valeurs et les normes, met en \u00e9vidence leurs \u00e9ventuels conflits, pour \u00e9clairer des choix individuels ou collectifs. \u00bb (CNPEN, 2021).<\/p>\nNous voudrions, lors de ce prochain colloque, interroger de mani\u00e8re plus sp\u00e9cifique l’impact ou la nature disruptive des technologies d’information et de communication dans les pratiques et les usages interactionnels, leur rapport \u00e0 l’innovation et \u00e0 la cr\u00e9ativit\u00e9, rapport qui est souvent occult\u00e9, peu pens\u00e9, tenu pour acquis. On pourra ainsi consid\u00e9rer la cr\u00e9ativit\u00e9 dans les \u00e9changes en ligne au travers de l’\u00e9tude de nouvelles pratiques et habitudes dans l’interaction qui \u00e9mergent \u00e0 l’intersection des affordances communicatives, des artefacts\u00a0interactionnels et des structures normatives de l’interaction m\u00e9di\u00e9e par un objet technique (Develotte et al., 2011 : 18). La perspective interactionniste permet d’envisager l’innovation et la cr\u00e9ativit\u00e9 dans leur historicit\u00e9 et leur processus, au travers d’\u00e9thiques et de normes, dans leurs aspects divergents ou convergents.<\/p>\nHuyghe (2017) nous rappelle que nous vivons dans un monde o\u00f9 l’innovation est \u00e9conomiquement syst\u00e9matis\u00e9e, que \u00ab le monde moderne a adopt\u00e9 la pouss\u00e9e technique comme principe d’intendance \u00bb (p.134) et que ces pouss\u00e9es techniques sont des \u00ab facteurs d’existence \u00bb qui modalisent des modes d’\u00eatre au monde et par l\u00e0, des pratiques (p. 136-7).<\/p>\nDepuis la crise du COVID, le t\u00e9l\u00e9travail s\u2019est g\u00e9n\u00e9ralis\u00e9 \u00e0 une partie importante de la population (en f\u00e9vrier 2022, 27 % des salari\u00e9s \u00e9taient en t\u00e9l\u00e9travail contre 4 % en 2019, selon l\u2019enqu\u00eate de la DARES). Par cons\u00e9quent, les applications de communication \u00e0 distance (visioconf\u00e9rence, messageries instantan\u00e9es, streaming) ont \u00e9t\u00e9 utilis\u00e9es massivement par des publics non form\u00e9s et non volontaires. Si l\u2019\u00e9tude de la communication m\u00e9di\u00e9e par ordinateur (Herring, 1996) n\u2019est pas nouvelle, les interactions multimodales n\u2019ont jamais \u00e9t\u00e9 aussi r\u00e9pandues que depuis les limitations impos\u00e9es par la pand\u00e9mie mondiale. Or, les communications \u00e0 distance sont propices aux malentendus pour des publics non form\u00e9s, non-volontaires et dans un contexte d\u2019urgence. L\u2019\u00e9tude des leviers pour pr\u00e9server la sant\u00e9 des t\u00e9l\u00e9travailleurs et soutenir leur performance met en \u00e9vidence que \u00ab les cons\u00e9quences du t\u00e9l\u00e9travail sur la r\u00e9gulation organisationnelle, sur les conditions de travail, sur l\u2019engagement, le bien-\u00eatre, voire sur des outils ou postures manag\u00e9riales, sont diverses, vari\u00e9es, parfois contradictoires \u00bb (Ch\u00eanevert et al. 2023, p. 16).<\/p>\nDe mani\u00e8re plus large, on peut consid\u00e9rer que le travail artistique et cr\u00e9atif repose non sur les innovations elles-m\u00eames, sur ces pouss\u00e9es techniques, mais sur un travail de \u00ab d\u00e9couverte \u00bb des \u00ab possibilit\u00e9s de cette pouss\u00e9e dans le sens d’une attention aux dispositions inutilis\u00e9es de son dispositif \u00bb (Huyghe, 2017 : 136). Pierre-Damien Huyghe (2022) distingue ainsi une logique d’innovation<\/em> propre \u00e0 notre monde capitaliste et qui permet de produire des appareils techniques selon une logique marchande d’expansion de ce qui est profitable \u00e9conomiquement \u00e0 la soci\u00e9t\u00e9, d’une logique d’invention<\/em> qui demande aux designers, artistes et bricoleurs d’\u00eatre attentifs aux potentiels des appareils au-del\u00e0 de leurs attentes initiales, c’est-\u00e0-dire \u00ab un travail d’\u00e9veil \u2013 attentif, actif, cr\u00e9atif, exp\u00e9rimental et exp\u00e9rientiel \u2013 envers leurs possibilit\u00e9s encore insoup\u00e7onn\u00e9es \u00bb (Citton, 2023).<\/p>\nPour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n\u00a0Axe A : Le monde du travail : collectifs, risques, in\u00e9galit\u00e9s et gestion \u00e9thique<\/strong><\/h2>\nLes interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\nLes questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n\n\nComment se sont reconfigur\u00e9es les routines professionnelles post-covid ? Comment les employeurs et leur management font-ils face aux in\u00e9galit\u00e9s\u00a0d\u2019acc\u00e8s au t\u00e9l\u00e9travail ou \u00e0 l\u2019espace de travail physique ?<\/li>\nComment proposer des formations innovantes et \u00e9thiques \u00e0 la hauteur des enjeux de ces interactions multimodales au travail ?<\/li>\nQuel est le v\u00e9cu des nombreux professionnels, quel que soit leur niveau de qualification, qui se trouvent confront\u00e9s \u00e0 des injonctions d\u2019interactions par \u00e9crans y compris par intelligence artificielle, d\u00e9sormais accessibles \u00e0 un plus grand nombre d\u2019organisations ?<\/li>\nQuel espace les communications multimodales par \u00e9cran laissent-elles en mati\u00e8re d\u2019autonomie au travail, de cr\u00e9ativit\u00e9 et de socialisation dans des collectifs ?<\/li>\nComment se saisir dans l\u2019enseignement en particulier, des technologies num\u00e9riques \u00e9ducatives afin d\u2019accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\n<\/ul>\n<\/div>\n\nAxe B : Pratiques artistiques\u00a0<\/strong><\/h2>\nLes \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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\n\t\t\t\t\t\t\tType d\u2019\u00e9v\u00e9nement<\/span><\/span> Colloque<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGroupe IMPEC<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgroupe.impec@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite du colloque<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\n\n\t\t\t\t\t\tDates de l\u2019\u00e9v\u00e9nement<\/span><\/span><\/p>\n\n\n\t\t\t\t\t\t\t\tDu 03\/07\/2024<\/time> au 05\/07\/2024<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\n\t\t\t\t\t\tLieu de l\u2019\u00e9v\u00e9nement<\/span><\/span>\n\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\tAix-en-Provence<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\nLe Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l’innovation et \u00e0 l\u2019\u00e9thique. Il se tiendra du 3 au 5 juillet 2024 \u00e0 Aix en Provence.<\/p>\nPr\u00e9sentation<\/h2>\nLe colloque IMPEC et son groupe de recherche c\u00e9l\u00e9breront en 2024 leur dix ans d\u2019existence<\/strong>. Dix ann\u00e9es de r\u00e9flexions riches et vari\u00e9es autour des Interactions Multimodales Par \u00c9Cran<\/strong>. Cinq colloques depuis 2014 ont \u00e9t\u00e9 organis\u00e9s \u00e0 Lyon autour de th\u00e9matiques telles que l\u2019exploration de la pr\u00e9sence, du corps, des sensorialit\u00e9s et de l\u2019espace. Pour cette sixi\u00e8me \u00e9dition X\u00e8me anniversaire, le colloque IMPEC 2024 aura lieu \u00e0 Aix-en-Provence<\/strong> et propose de d\u00e9finir et comprendre les sp\u00e9cificit\u00e9s de la communication par \u00e9cran \u00e0 la lumi\u00e8re des notions de cr\u00e9ativit\u00e9, d\u2019innovation et d\u2019\u00e9thique.<\/strong><\/p>\nDe nombreuses d\u00e9finitions de la cr\u00e9ativit\u00e9 existent et le concept m\u00eame reste objet de discussions voire de controverses (Bonnardel, Girandola, Bonetto et Lubart, 2023). Nous retiendrons la d\u00e9finition dynamique et contextualis\u00e9e de Corazza et Lubart : \u00ab La cr\u00e9ativit\u00e9 est un ph\u00e9nom\u00e8ne ancr\u00e9 dans un contexte, qui requiert une originalit\u00e9 et une efficacit\u00e9 potentielles \u00bb (2021 : 5). La cr\u00e9ativit\u00e9 se d\u00e9cline en activit\u00e9s cr\u00e9atives majeures avec fort impact sur notre soci\u00e9t\u00e9 et en activit\u00e9s cr\u00e9atives plus communes et il existe un continuum entre les deux (Bonnardel et Lubart, 2019). Enfin, La cr\u00e9ativit\u00e9 m\u00e8ne \u00e0 des innovations, d\u00e9finie par le Manuel d\u2019Oslo (2018) comme \u00ab un produit ou un processus (ou une combinaison des deux) nouveau ou am\u00e9lior\u00e9 qui diff\u00e8re sensiblement des produits ou processus pr\u00e9c\u00e9dents d\u2019une unit\u00e9 et a \u00e9t\u00e9 mis \u00e0 la disposition d\u2019utilisateurs potentiels (produit) ou mis en \u0153uvre par l\u2019unit\u00e9 (processus) \u00bb. Ces innovations peuvent parfois trouver des limites pos\u00e9es par l\u2019\u00e9thique, entendue comme une r\u00e9flexion continue, \u00e9volutive, nourrie par l\u2019histoire de la pens\u00e9e et li\u00e9e \u00e0 une culture et [qui] identifie et interroge les valeurs et les normes, met en \u00e9vidence leurs \u00e9ventuels conflits, pour \u00e9clairer des choix individuels ou collectifs. \u00bb (CNPEN, 2021).<\/p>\nNous voudrions, lors de ce prochain colloque, interroger de mani\u00e8re plus sp\u00e9cifique l’impact ou la nature disruptive des technologies d’information et de communication dans les pratiques et les usages interactionnels, leur rapport \u00e0 l’innovation et \u00e0 la cr\u00e9ativit\u00e9, rapport qui est souvent occult\u00e9, peu pens\u00e9, tenu pour acquis. On pourra ainsi consid\u00e9rer la cr\u00e9ativit\u00e9 dans les \u00e9changes en ligne au travers de l’\u00e9tude de nouvelles pratiques et habitudes dans l’interaction qui \u00e9mergent \u00e0 l’intersection des affordances communicatives, des artefacts\u00a0interactionnels et des structures normatives de l’interaction m\u00e9di\u00e9e par un objet technique (Develotte et al., 2011 : 18). La perspective interactionniste permet d’envisager l’innovation et la cr\u00e9ativit\u00e9 dans leur historicit\u00e9 et leur processus, au travers d’\u00e9thiques et de normes, dans leurs aspects divergents ou convergents.<\/p>\nHuyghe (2017) nous rappelle que nous vivons dans un monde o\u00f9 l’innovation est \u00e9conomiquement syst\u00e9matis\u00e9e, que \u00ab le monde moderne a adopt\u00e9 la pouss\u00e9e technique comme principe d’intendance \u00bb (p.134) et que ces pouss\u00e9es techniques sont des \u00ab facteurs d’existence \u00bb qui modalisent des modes d’\u00eatre au monde et par l\u00e0, des pratiques (p. 136-7).<\/p>\nDepuis la crise du COVID, le t\u00e9l\u00e9travail s\u2019est g\u00e9n\u00e9ralis\u00e9 \u00e0 une partie importante de la population (en f\u00e9vrier 2022, 27 % des salari\u00e9s \u00e9taient en t\u00e9l\u00e9travail contre 4 % en 2019, selon l\u2019enqu\u00eate de la DARES). Par cons\u00e9quent, les applications de communication \u00e0 distance (visioconf\u00e9rence, messageries instantan\u00e9es, streaming) ont \u00e9t\u00e9 utilis\u00e9es massivement par des publics non form\u00e9s et non volontaires. Si l\u2019\u00e9tude de la communication m\u00e9di\u00e9e par ordinateur (Herring, 1996) n\u2019est pas nouvelle, les interactions multimodales n\u2019ont jamais \u00e9t\u00e9 aussi r\u00e9pandues que depuis les limitations impos\u00e9es par la pand\u00e9mie mondiale. Or, les communications \u00e0 distance sont propices aux malentendus pour des publics non form\u00e9s, non-volontaires et dans un contexte d\u2019urgence. L\u2019\u00e9tude des leviers pour pr\u00e9server la sant\u00e9 des t\u00e9l\u00e9travailleurs et soutenir leur performance met en \u00e9vidence que \u00ab les cons\u00e9quences du t\u00e9l\u00e9travail sur la r\u00e9gulation organisationnelle, sur les conditions de travail, sur l\u2019engagement, le bien-\u00eatre, voire sur des outils ou postures manag\u00e9riales, sont diverses, vari\u00e9es, parfois contradictoires \u00bb (Ch\u00eanevert et al. 2023, p. 16).<\/p>\nDe mani\u00e8re plus large, on peut consid\u00e9rer que le travail artistique et cr\u00e9atif repose non sur les innovations elles-m\u00eames, sur ces pouss\u00e9es techniques, mais sur un travail de \u00ab d\u00e9couverte \u00bb des \u00ab possibilit\u00e9s de cette pouss\u00e9e dans le sens d’une attention aux dispositions inutilis\u00e9es de son dispositif \u00bb (Huyghe, 2017 : 136). Pierre-Damien Huyghe (2022) distingue ainsi une logique d’innovation<\/em> propre \u00e0 notre monde capitaliste et qui permet de produire des appareils techniques selon une logique marchande d’expansion de ce qui est profitable \u00e9conomiquement \u00e0 la soci\u00e9t\u00e9, d’une logique d’invention<\/em> qui demande aux designers, artistes et bricoleurs d’\u00eatre attentifs aux potentiels des appareils au-del\u00e0 de leurs attentes initiales, c’est-\u00e0-dire \u00ab un travail d’\u00e9veil \u2013 attentif, actif, cr\u00e9atif, exp\u00e9rimental et exp\u00e9rientiel \u2013 envers leurs possibilit\u00e9s encore insoup\u00e7onn\u00e9es \u00bb (Citton, 2023).<\/p>\nPour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n\u00a0Axe A : Le monde du travail : collectifs, risques, in\u00e9galit\u00e9s et gestion \u00e9thique<\/strong><\/h2>\nLes interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\nLes questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n\n\nComment se sont reconfigur\u00e9es les routines professionnelles post-covid ? Comment les employeurs et leur management font-ils face aux in\u00e9galit\u00e9s\u00a0d\u2019acc\u00e8s au t\u00e9l\u00e9travail ou \u00e0 l\u2019espace de travail physique ?<\/li>\nComment proposer des formations innovantes et \u00e9thiques \u00e0 la hauteur des enjeux de ces interactions multimodales au travail ?<\/li>\nQuel est le v\u00e9cu des nombreux professionnels, quel que soit leur niveau de qualification, qui se trouvent confront\u00e9s \u00e0 des injonctions d\u2019interactions par \u00e9crans y compris par intelligence artificielle, d\u00e9sormais accessibles \u00e0 un plus grand nombre d\u2019organisations ?<\/li>\nQuel espace les communications multimodales par \u00e9cran laissent-elles en mati\u00e8re d\u2019autonomie au travail, de cr\u00e9ativit\u00e9 et de socialisation dans des collectifs ?<\/li>\nComment se saisir dans l\u2019enseignement en particulier, des technologies num\u00e9riques \u00e9ducatives afin d\u2019accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\n<\/ul>\n<\/div>\n\nAxe B : Pratiques artistiques\u00a0<\/strong><\/h2>\nLes \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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\n\t\t\t\t\t\tLieu de l\u2019\u00e9v\u00e9nement<\/span><\/span>\n\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\tAix-en-Provence<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\nLe Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l’innovation et \u00e0 l\u2019\u00e9thique. Il se tiendra du 3 au 5 juillet 2024 \u00e0 Aix en Provence.<\/p>\nPr\u00e9sentation<\/h2>\nLe colloque IMPEC et son groupe de recherche c\u00e9l\u00e9breront en 2024 leur dix ans d\u2019existence<\/strong>. Dix ann\u00e9es de r\u00e9flexions riches et vari\u00e9es autour des Interactions Multimodales Par \u00c9Cran<\/strong>. Cinq colloques depuis 2014 ont \u00e9t\u00e9 organis\u00e9s \u00e0 Lyon autour de th\u00e9matiques telles que l\u2019exploration de la pr\u00e9sence, du corps, des sensorialit\u00e9s et de l\u2019espace. Pour cette sixi\u00e8me \u00e9dition X\u00e8me anniversaire, le colloque IMPEC 2024 aura lieu \u00e0 Aix-en-Provence<\/strong> et propose de d\u00e9finir et comprendre les sp\u00e9cificit\u00e9s de la communication par \u00e9cran \u00e0 la lumi\u00e8re des notions de cr\u00e9ativit\u00e9, d\u2019innovation et d\u2019\u00e9thique.<\/strong><\/p>\nDe nombreuses d\u00e9finitions de la cr\u00e9ativit\u00e9 existent et le concept m\u00eame reste objet de discussions voire de controverses (Bonnardel, Girandola, Bonetto et Lubart, 2023). Nous retiendrons la d\u00e9finition dynamique et contextualis\u00e9e de Corazza et Lubart : \u00ab La cr\u00e9ativit\u00e9 est un ph\u00e9nom\u00e8ne ancr\u00e9 dans un contexte, qui requiert une originalit\u00e9 et une efficacit\u00e9 potentielles \u00bb (2021 : 5). La cr\u00e9ativit\u00e9 se d\u00e9cline en activit\u00e9s cr\u00e9atives majeures avec fort impact sur notre soci\u00e9t\u00e9 et en activit\u00e9s cr\u00e9atives plus communes et il existe un continuum entre les deux (Bonnardel et Lubart, 2019). Enfin, La cr\u00e9ativit\u00e9 m\u00e8ne \u00e0 des innovations, d\u00e9finie par le Manuel d\u2019Oslo (2018) comme \u00ab un produit ou un processus (ou une combinaison des deux) nouveau ou am\u00e9lior\u00e9 qui diff\u00e8re sensiblement des produits ou processus pr\u00e9c\u00e9dents d\u2019une unit\u00e9 et a \u00e9t\u00e9 mis \u00e0 la disposition d\u2019utilisateurs potentiels (produit) ou mis en \u0153uvre par l\u2019unit\u00e9 (processus) \u00bb. Ces innovations peuvent parfois trouver des limites pos\u00e9es par l\u2019\u00e9thique, entendue comme une r\u00e9flexion continue, \u00e9volutive, nourrie par l\u2019histoire de la pens\u00e9e et li\u00e9e \u00e0 une culture et [qui] identifie et interroge les valeurs et les normes, met en \u00e9vidence leurs \u00e9ventuels conflits, pour \u00e9clairer des choix individuels ou collectifs. \u00bb (CNPEN, 2021).<\/p>\nNous voudrions, lors de ce prochain colloque, interroger de mani\u00e8re plus sp\u00e9cifique l’impact ou la nature disruptive des technologies d’information et de communication dans les pratiques et les usages interactionnels, leur rapport \u00e0 l’innovation et \u00e0 la cr\u00e9ativit\u00e9, rapport qui est souvent occult\u00e9, peu pens\u00e9, tenu pour acquis. On pourra ainsi consid\u00e9rer la cr\u00e9ativit\u00e9 dans les \u00e9changes en ligne au travers de l’\u00e9tude de nouvelles pratiques et habitudes dans l’interaction qui \u00e9mergent \u00e0 l’intersection des affordances communicatives, des artefacts\u00a0interactionnels et des structures normatives de l’interaction m\u00e9di\u00e9e par un objet technique (Develotte et al., 2011 : 18). La perspective interactionniste permet d’envisager l’innovation et la cr\u00e9ativit\u00e9 dans leur historicit\u00e9 et leur processus, au travers d’\u00e9thiques et de normes, dans leurs aspects divergents ou convergents.<\/p>\nHuyghe (2017) nous rappelle que nous vivons dans un monde o\u00f9 l’innovation est \u00e9conomiquement syst\u00e9matis\u00e9e, que \u00ab le monde moderne a adopt\u00e9 la pouss\u00e9e technique comme principe d’intendance \u00bb (p.134) et que ces pouss\u00e9es techniques sont des \u00ab facteurs d’existence \u00bb qui modalisent des modes d’\u00eatre au monde et par l\u00e0, des pratiques (p. 136-7).<\/p>\nDepuis la crise du COVID, le t\u00e9l\u00e9travail s\u2019est g\u00e9n\u00e9ralis\u00e9 \u00e0 une partie importante de la population (en f\u00e9vrier 2022, 27 % des salari\u00e9s \u00e9taient en t\u00e9l\u00e9travail contre 4 % en 2019, selon l\u2019enqu\u00eate de la DARES). Par cons\u00e9quent, les applications de communication \u00e0 distance (visioconf\u00e9rence, messageries instantan\u00e9es, streaming) ont \u00e9t\u00e9 utilis\u00e9es massivement par des publics non form\u00e9s et non volontaires. Si l\u2019\u00e9tude de la communication m\u00e9di\u00e9e par ordinateur (Herring, 1996) n\u2019est pas nouvelle, les interactions multimodales n\u2019ont jamais \u00e9t\u00e9 aussi r\u00e9pandues que depuis les limitations impos\u00e9es par la pand\u00e9mie mondiale. Or, les communications \u00e0 distance sont propices aux malentendus pour des publics non form\u00e9s, non-volontaires et dans un contexte d\u2019urgence. L\u2019\u00e9tude des leviers pour pr\u00e9server la sant\u00e9 des t\u00e9l\u00e9travailleurs et soutenir leur performance met en \u00e9vidence que \u00ab les cons\u00e9quences du t\u00e9l\u00e9travail sur la r\u00e9gulation organisationnelle, sur les conditions de travail, sur l\u2019engagement, le bien-\u00eatre, voire sur des outils ou postures manag\u00e9riales, sont diverses, vari\u00e9es, parfois contradictoires \u00bb (Ch\u00eanevert et al. 2023, p. 16).<\/p>\nDe mani\u00e8re plus large, on peut consid\u00e9rer que le travail artistique et cr\u00e9atif repose non sur les innovations elles-m\u00eames, sur ces pouss\u00e9es techniques, mais sur un travail de \u00ab d\u00e9couverte \u00bb des \u00ab possibilit\u00e9s de cette pouss\u00e9e dans le sens d’une attention aux dispositions inutilis\u00e9es de son dispositif \u00bb (Huyghe, 2017 : 136). Pierre-Damien Huyghe (2022) distingue ainsi une logique d’innovation<\/em> propre \u00e0 notre monde capitaliste et qui permet de produire des appareils techniques selon une logique marchande d’expansion de ce qui est profitable \u00e9conomiquement \u00e0 la soci\u00e9t\u00e9, d’une logique d’invention<\/em> qui demande aux designers, artistes et bricoleurs d’\u00eatre attentifs aux potentiels des appareils au-del\u00e0 de leurs attentes initiales, c’est-\u00e0-dire \u00ab un travail d’\u00e9veil \u2013 attentif, actif, cr\u00e9atif, exp\u00e9rimental et exp\u00e9rientiel \u2013 envers leurs possibilit\u00e9s encore insoup\u00e7onn\u00e9es \u00bb (Citton, 2023).<\/p>\nPour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n\u00a0Axe A : Le monde du travail : collectifs, risques, in\u00e9galit\u00e9s et gestion \u00e9thique<\/strong><\/h2>\nLes interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\nLes questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n\n\nComment se sont reconfigur\u00e9es les routines professionnelles post-covid ? Comment les employeurs et leur management font-ils face aux in\u00e9galit\u00e9s\u00a0d\u2019acc\u00e8s au t\u00e9l\u00e9travail ou \u00e0 l\u2019espace de travail physique ?<\/li>\nComment proposer des formations innovantes et \u00e9thiques \u00e0 la hauteur des enjeux de ces interactions multimodales au travail ?<\/li>\nQuel est le v\u00e9cu des nombreux professionnels, quel que soit leur niveau de qualification, qui se trouvent confront\u00e9s \u00e0 des injonctions d\u2019interactions par \u00e9crans y compris par intelligence artificielle, d\u00e9sormais accessibles \u00e0 un plus grand nombre d\u2019organisations ?<\/li>\nQuel espace les communications multimodales par \u00e9cran laissent-elles en mati\u00e8re d\u2019autonomie au travail, de cr\u00e9ativit\u00e9 et de socialisation dans des collectifs ?<\/li>\nComment se saisir dans l\u2019enseignement en particulier, des technologies num\u00e9riques \u00e9ducatives afin d\u2019accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\n<\/ul>\n<\/div>\n\nAxe B : Pratiques artistiques\u00a0<\/strong><\/h2>\nLes \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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\t\t\t\t\t\tAix-en-Provence<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\nLe Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l’innovation et \u00e0 l\u2019\u00e9thique. Il se tiendra du 3 au 5 juillet 2024 \u00e0 Aix en Provence.<\/p>\nPr\u00e9sentation<\/h2>\nLe colloque IMPEC et son groupe de recherche c\u00e9l\u00e9breront en 2024 leur dix ans d\u2019existence<\/strong>. Dix ann\u00e9es de r\u00e9flexions riches et vari\u00e9es autour des Interactions Multimodales Par \u00c9Cran<\/strong>. Cinq colloques depuis 2014 ont \u00e9t\u00e9 organis\u00e9s \u00e0 Lyon autour de th\u00e9matiques telles que l\u2019exploration de la pr\u00e9sence, du corps, des sensorialit\u00e9s et de l\u2019espace. Pour cette sixi\u00e8me \u00e9dition X\u00e8me anniversaire, le colloque IMPEC 2024 aura lieu \u00e0 Aix-en-Provence<\/strong> et propose de d\u00e9finir et comprendre les sp\u00e9cificit\u00e9s de la communication par \u00e9cran \u00e0 la lumi\u00e8re des notions de cr\u00e9ativit\u00e9, d\u2019innovation et d\u2019\u00e9thique.<\/strong><\/p>\nDe nombreuses d\u00e9finitions de la cr\u00e9ativit\u00e9 existent et le concept m\u00eame reste objet de discussions voire de controverses (Bonnardel, Girandola, Bonetto et Lubart, 2023). Nous retiendrons la d\u00e9finition dynamique et contextualis\u00e9e de Corazza et Lubart : \u00ab La cr\u00e9ativit\u00e9 est un ph\u00e9nom\u00e8ne ancr\u00e9 dans un contexte, qui requiert une originalit\u00e9 et une efficacit\u00e9 potentielles \u00bb (2021 : 5). La cr\u00e9ativit\u00e9 se d\u00e9cline en activit\u00e9s cr\u00e9atives majeures avec fort impact sur notre soci\u00e9t\u00e9 et en activit\u00e9s cr\u00e9atives plus communes et il existe un continuum entre les deux (Bonnardel et Lubart, 2019). Enfin, La cr\u00e9ativit\u00e9 m\u00e8ne \u00e0 des innovations, d\u00e9finie par le Manuel d\u2019Oslo (2018) comme \u00ab un produit ou un processus (ou une combinaison des deux) nouveau ou am\u00e9lior\u00e9 qui diff\u00e8re sensiblement des produits ou processus pr\u00e9c\u00e9dents d\u2019une unit\u00e9 et a \u00e9t\u00e9 mis \u00e0 la disposition d\u2019utilisateurs potentiels (produit) ou mis en \u0153uvre par l\u2019unit\u00e9 (processus) \u00bb. Ces innovations peuvent parfois trouver des limites pos\u00e9es par l\u2019\u00e9thique, entendue comme une r\u00e9flexion continue, \u00e9volutive, nourrie par l\u2019histoire de la pens\u00e9e et li\u00e9e \u00e0 une culture et [qui] identifie et interroge les valeurs et les normes, met en \u00e9vidence leurs \u00e9ventuels conflits, pour \u00e9clairer des choix individuels ou collectifs. \u00bb (CNPEN, 2021).<\/p>\nNous voudrions, lors de ce prochain colloque, interroger de mani\u00e8re plus sp\u00e9cifique l’impact ou la nature disruptive des technologies d’information et de communication dans les pratiques et les usages interactionnels, leur rapport \u00e0 l’innovation et \u00e0 la cr\u00e9ativit\u00e9, rapport qui est souvent occult\u00e9, peu pens\u00e9, tenu pour acquis. On pourra ainsi consid\u00e9rer la cr\u00e9ativit\u00e9 dans les \u00e9changes en ligne au travers de l’\u00e9tude de nouvelles pratiques et habitudes dans l’interaction qui \u00e9mergent \u00e0 l’intersection des affordances communicatives, des artefacts\u00a0interactionnels et des structures normatives de l’interaction m\u00e9di\u00e9e par un objet technique (Develotte et al., 2011 : 18). La perspective interactionniste permet d’envisager l’innovation et la cr\u00e9ativit\u00e9 dans leur historicit\u00e9 et leur processus, au travers d’\u00e9thiques et de normes, dans leurs aspects divergents ou convergents.<\/p>\nHuyghe (2017) nous rappelle que nous vivons dans un monde o\u00f9 l’innovation est \u00e9conomiquement syst\u00e9matis\u00e9e, que \u00ab le monde moderne a adopt\u00e9 la pouss\u00e9e technique comme principe d’intendance \u00bb (p.134) et que ces pouss\u00e9es techniques sont des \u00ab facteurs d’existence \u00bb qui modalisent des modes d’\u00eatre au monde et par l\u00e0, des pratiques (p. 136-7).<\/p>\nDepuis la crise du COVID, le t\u00e9l\u00e9travail s\u2019est g\u00e9n\u00e9ralis\u00e9 \u00e0 une partie importante de la population (en f\u00e9vrier 2022, 27 % des salari\u00e9s \u00e9taient en t\u00e9l\u00e9travail contre 4 % en 2019, selon l\u2019enqu\u00eate de la DARES). Par cons\u00e9quent, les applications de communication \u00e0 distance (visioconf\u00e9rence, messageries instantan\u00e9es, streaming) ont \u00e9t\u00e9 utilis\u00e9es massivement par des publics non form\u00e9s et non volontaires. Si l\u2019\u00e9tude de la communication m\u00e9di\u00e9e par ordinateur (Herring, 1996) n\u2019est pas nouvelle, les interactions multimodales n\u2019ont jamais \u00e9t\u00e9 aussi r\u00e9pandues que depuis les limitations impos\u00e9es par la pand\u00e9mie mondiale. Or, les communications \u00e0 distance sont propices aux malentendus pour des publics non form\u00e9s, non-volontaires et dans un contexte d\u2019urgence. L\u2019\u00e9tude des leviers pour pr\u00e9server la sant\u00e9 des t\u00e9l\u00e9travailleurs et soutenir leur performance met en \u00e9vidence que \u00ab les cons\u00e9quences du t\u00e9l\u00e9travail sur la r\u00e9gulation organisationnelle, sur les conditions de travail, sur l\u2019engagement, le bien-\u00eatre, voire sur des outils ou postures manag\u00e9riales, sont diverses, vari\u00e9es, parfois contradictoires \u00bb (Ch\u00eanevert et al. 2023, p. 16).<\/p>\nDe mani\u00e8re plus large, on peut consid\u00e9rer que le travail artistique et cr\u00e9atif repose non sur les innovations elles-m\u00eames, sur ces pouss\u00e9es techniques, mais sur un travail de \u00ab d\u00e9couverte \u00bb des \u00ab possibilit\u00e9s de cette pouss\u00e9e dans le sens d’une attention aux dispositions inutilis\u00e9es de son dispositif \u00bb (Huyghe, 2017 : 136). Pierre-Damien Huyghe (2022) distingue ainsi une logique d’innovation<\/em> propre \u00e0 notre monde capitaliste et qui permet de produire des appareils techniques selon une logique marchande d’expansion de ce qui est profitable \u00e9conomiquement \u00e0 la soci\u00e9t\u00e9, d’une logique d’invention<\/em> qui demande aux designers, artistes et bricoleurs d’\u00eatre attentifs aux potentiels des appareils au-del\u00e0 de leurs attentes initiales, c’est-\u00e0-dire \u00ab un travail d’\u00e9veil \u2013 attentif, actif, cr\u00e9atif, exp\u00e9rimental et exp\u00e9rientiel \u2013 envers leurs possibilit\u00e9s encore insoup\u00e7onn\u00e9es \u00bb (Citton, 2023).<\/p>\nPour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n\u00a0Axe A : Le monde du travail : collectifs, risques, in\u00e9galit\u00e9s et gestion \u00e9thique<\/strong><\/h2>\nLes interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\nLes questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n\n\nComment se sont reconfigur\u00e9es les routines professionnelles post-covid ? Comment les employeurs et leur management font-ils face aux in\u00e9galit\u00e9s\u00a0d\u2019acc\u00e8s au t\u00e9l\u00e9travail ou \u00e0 l\u2019espace de travail physique ?<\/li>\nComment proposer des formations innovantes et \u00e9thiques \u00e0 la hauteur des enjeux de ces interactions multimodales au travail ?<\/li>\nQuel est le v\u00e9cu des nombreux professionnels, quel que soit leur niveau de qualification, qui se trouvent confront\u00e9s \u00e0 des injonctions d\u2019interactions par \u00e9crans y compris par intelligence artificielle, d\u00e9sormais accessibles \u00e0 un plus grand nombre d\u2019organisations ?<\/li>\nQuel espace les communications multimodales par \u00e9cran laissent-elles en mati\u00e8re d\u2019autonomie au travail, de cr\u00e9ativit\u00e9 et de socialisation dans des collectifs ?<\/li>\nComment se saisir dans l\u2019enseignement en particulier, des technologies num\u00e9riques \u00e9ducatives afin d\u2019accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\n<\/ul>\n<\/div>\n\nAxe B : Pratiques artistiques\u00a0<\/strong><\/h2>\nLes \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l’innovation et \u00e0 l\u2019\u00e9thique. Il se tiendra du 3 au 5 juillet 2024 \u00e0 Aix en Provence.<\/p>\n
Le colloque IMPEC et son groupe de recherche c\u00e9l\u00e9breront en 2024 leur dix ans d\u2019existence<\/strong>. Dix ann\u00e9es de r\u00e9flexions riches et vari\u00e9es autour des Interactions Multimodales Par \u00c9Cran<\/strong>. Cinq colloques depuis 2014 ont \u00e9t\u00e9 organis\u00e9s \u00e0 Lyon autour de th\u00e9matiques telles que l\u2019exploration de la pr\u00e9sence, du corps, des sensorialit\u00e9s et de l\u2019espace. Pour cette sixi\u00e8me \u00e9dition X\u00e8me anniversaire, le colloque IMPEC 2024 aura lieu \u00e0 Aix-en-Provence<\/strong> et propose de d\u00e9finir et comprendre les sp\u00e9cificit\u00e9s de la communication par \u00e9cran \u00e0 la lumi\u00e8re des notions de cr\u00e9ativit\u00e9, d\u2019innovation et d\u2019\u00e9thique.<\/strong><\/p>\nDe nombreuses d\u00e9finitions de la cr\u00e9ativit\u00e9 existent et le concept m\u00eame reste objet de discussions voire de controverses (Bonnardel, Girandola, Bonetto et Lubart, 2023). Nous retiendrons la d\u00e9finition dynamique et contextualis\u00e9e de Corazza et Lubart : \u00ab La cr\u00e9ativit\u00e9 est un ph\u00e9nom\u00e8ne ancr\u00e9 dans un contexte, qui requiert une originalit\u00e9 et une efficacit\u00e9 potentielles \u00bb (2021 : 5). La cr\u00e9ativit\u00e9 se d\u00e9cline en activit\u00e9s cr\u00e9atives majeures avec fort impact sur notre soci\u00e9t\u00e9 et en activit\u00e9s cr\u00e9atives plus communes et il existe un continuum entre les deux (Bonnardel et Lubart, 2019). Enfin, La cr\u00e9ativit\u00e9 m\u00e8ne \u00e0 des innovations, d\u00e9finie par le Manuel d\u2019Oslo (2018) comme \u00ab un produit ou un processus (ou une combinaison des deux) nouveau ou am\u00e9lior\u00e9 qui diff\u00e8re sensiblement des produits ou processus pr\u00e9c\u00e9dents d\u2019une unit\u00e9 et a \u00e9t\u00e9 mis \u00e0 la disposition d\u2019utilisateurs potentiels (produit) ou mis en \u0153uvre par l\u2019unit\u00e9 (processus) \u00bb. Ces innovations peuvent parfois trouver des limites pos\u00e9es par l\u2019\u00e9thique, entendue comme une r\u00e9flexion continue, \u00e9volutive, nourrie par l\u2019histoire de la pens\u00e9e et li\u00e9e \u00e0 une culture et [qui] identifie et interroge les valeurs et les normes, met en \u00e9vidence leurs \u00e9ventuels conflits, pour \u00e9clairer des choix individuels ou collectifs. \u00bb (CNPEN, 2021).<\/p>\nNous voudrions, lors de ce prochain colloque, interroger de mani\u00e8re plus sp\u00e9cifique l’impact ou la nature disruptive des technologies d’information et de communication dans les pratiques et les usages interactionnels, leur rapport \u00e0 l’innovation et \u00e0 la cr\u00e9ativit\u00e9, rapport qui est souvent occult\u00e9, peu pens\u00e9, tenu pour acquis. On pourra ainsi consid\u00e9rer la cr\u00e9ativit\u00e9 dans les \u00e9changes en ligne au travers de l’\u00e9tude de nouvelles pratiques et habitudes dans l’interaction qui \u00e9mergent \u00e0 l’intersection des affordances communicatives, des artefacts\u00a0interactionnels et des structures normatives de l’interaction m\u00e9di\u00e9e par un objet technique (Develotte et al., 2011 : 18). La perspective interactionniste permet d’envisager l’innovation et la cr\u00e9ativit\u00e9 dans leur historicit\u00e9 et leur processus, au travers d’\u00e9thiques et de normes, dans leurs aspects divergents ou convergents.<\/p>\nHuyghe (2017) nous rappelle que nous vivons dans un monde o\u00f9 l’innovation est \u00e9conomiquement syst\u00e9matis\u00e9e, que \u00ab le monde moderne a adopt\u00e9 la pouss\u00e9e technique comme principe d’intendance \u00bb (p.134) et que ces pouss\u00e9es techniques sont des \u00ab facteurs d’existence \u00bb qui modalisent des modes d’\u00eatre au monde et par l\u00e0, des pratiques (p. 136-7).<\/p>\nDepuis la crise du COVID, le t\u00e9l\u00e9travail s\u2019est g\u00e9n\u00e9ralis\u00e9 \u00e0 une partie importante de la population (en f\u00e9vrier 2022, 27 % des salari\u00e9s \u00e9taient en t\u00e9l\u00e9travail contre 4 % en 2019, selon l\u2019enqu\u00eate de la DARES). Par cons\u00e9quent, les applications de communication \u00e0 distance (visioconf\u00e9rence, messageries instantan\u00e9es, streaming) ont \u00e9t\u00e9 utilis\u00e9es massivement par des publics non form\u00e9s et non volontaires. Si l\u2019\u00e9tude de la communication m\u00e9di\u00e9e par ordinateur (Herring, 1996) n\u2019est pas nouvelle, les interactions multimodales n\u2019ont jamais \u00e9t\u00e9 aussi r\u00e9pandues que depuis les limitations impos\u00e9es par la pand\u00e9mie mondiale. Or, les communications \u00e0 distance sont propices aux malentendus pour des publics non form\u00e9s, non-volontaires et dans un contexte d\u2019urgence. L\u2019\u00e9tude des leviers pour pr\u00e9server la sant\u00e9 des t\u00e9l\u00e9travailleurs et soutenir leur performance met en \u00e9vidence que \u00ab les cons\u00e9quences du t\u00e9l\u00e9travail sur la r\u00e9gulation organisationnelle, sur les conditions de travail, sur l\u2019engagement, le bien-\u00eatre, voire sur des outils ou postures manag\u00e9riales, sont diverses, vari\u00e9es, parfois contradictoires \u00bb (Ch\u00eanevert et al. 2023, p. 16).<\/p>\nDe mani\u00e8re plus large, on peut consid\u00e9rer que le travail artistique et cr\u00e9atif repose non sur les innovations elles-m\u00eames, sur ces pouss\u00e9es techniques, mais sur un travail de \u00ab d\u00e9couverte \u00bb des \u00ab possibilit\u00e9s de cette pouss\u00e9e dans le sens d’une attention aux dispositions inutilis\u00e9es de son dispositif \u00bb (Huyghe, 2017 : 136). Pierre-Damien Huyghe (2022) distingue ainsi une logique d’innovation<\/em> propre \u00e0 notre monde capitaliste et qui permet de produire des appareils techniques selon une logique marchande d’expansion de ce qui est profitable \u00e9conomiquement \u00e0 la soci\u00e9t\u00e9, d’une logique d’invention<\/em> qui demande aux designers, artistes et bricoleurs d’\u00eatre attentifs aux potentiels des appareils au-del\u00e0 de leurs attentes initiales, c’est-\u00e0-dire \u00ab un travail d’\u00e9veil \u2013 attentif, actif, cr\u00e9atif, exp\u00e9rimental et exp\u00e9rientiel \u2013 envers leurs possibilit\u00e9s encore insoup\u00e7onn\u00e9es \u00bb (Citton, 2023).<\/p>\nPour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n\u00a0Axe A : Le monde du travail : collectifs, risques, in\u00e9galit\u00e9s et gestion \u00e9thique<\/strong><\/h2>\nLes interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\nLes questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n\n\nComment se sont reconfigur\u00e9es les routines professionnelles post-covid ? Comment les employeurs et leur management font-ils face aux in\u00e9galit\u00e9s\u00a0d\u2019acc\u00e8s au t\u00e9l\u00e9travail ou \u00e0 l\u2019espace de travail physique ?<\/li>\nComment proposer des formations innovantes et \u00e9thiques \u00e0 la hauteur des enjeux de ces interactions multimodales au travail ?<\/li>\nQuel est le v\u00e9cu des nombreux professionnels, quel que soit leur niveau de qualification, qui se trouvent confront\u00e9s \u00e0 des injonctions d\u2019interactions par \u00e9crans y compris par intelligence artificielle, d\u00e9sormais accessibles \u00e0 un plus grand nombre d\u2019organisations ?<\/li>\nQuel espace les communications multimodales par \u00e9cran laissent-elles en mati\u00e8re d\u2019autonomie au travail, de cr\u00e9ativit\u00e9 et de socialisation dans des collectifs ?<\/li>\nComment se saisir dans l\u2019enseignement en particulier, des technologies num\u00e9riques \u00e9ducatives afin d\u2019accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\n<\/ul>\n<\/div>\n\nAxe B : Pratiques artistiques\u00a0<\/strong><\/h2>\nLes \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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De nombreuses d\u00e9finitions de la cr\u00e9ativit\u00e9 existent et le concept m\u00eame reste objet de discussions voire de controverses (Bonnardel, Girandola, Bonetto et Lubart, 2023). Nous retiendrons la d\u00e9finition dynamique et contextualis\u00e9e de Corazza et Lubart : \u00ab La cr\u00e9ativit\u00e9 est un ph\u00e9nom\u00e8ne ancr\u00e9 dans un contexte, qui requiert une originalit\u00e9 et une efficacit\u00e9 potentielles \u00bb (2021 : 5). La cr\u00e9ativit\u00e9 se d\u00e9cline en activit\u00e9s cr\u00e9atives majeures avec fort impact sur notre soci\u00e9t\u00e9 et en activit\u00e9s cr\u00e9atives plus communes et il existe un continuum entre les deux (Bonnardel et Lubart, 2019). Enfin, La cr\u00e9ativit\u00e9 m\u00e8ne \u00e0 des innovations, d\u00e9finie par le Manuel d\u2019Oslo (2018) comme \u00ab un produit ou un processus (ou une combinaison des deux) nouveau ou am\u00e9lior\u00e9 qui diff\u00e8re sensiblement des produits ou processus pr\u00e9c\u00e9dents d\u2019une unit\u00e9 et a \u00e9t\u00e9 mis \u00e0 la disposition d\u2019utilisateurs potentiels (produit) ou mis en \u0153uvre par l\u2019unit\u00e9 (processus) \u00bb. Ces innovations peuvent parfois trouver des limites pos\u00e9es par l\u2019\u00e9thique, entendue comme une r\u00e9flexion continue, \u00e9volutive, nourrie par l\u2019histoire de la pens\u00e9e et li\u00e9e \u00e0 une culture et [qui] identifie et interroge les valeurs et les normes, met en \u00e9vidence leurs \u00e9ventuels conflits, pour \u00e9clairer des choix individuels ou collectifs. \u00bb (CNPEN, 2021).<\/p>\n
Nous voudrions, lors de ce prochain colloque, interroger de mani\u00e8re plus sp\u00e9cifique l’impact ou la nature disruptive des technologies d’information et de communication dans les pratiques et les usages interactionnels, leur rapport \u00e0 l’innovation et \u00e0 la cr\u00e9ativit\u00e9, rapport qui est souvent occult\u00e9, peu pens\u00e9, tenu pour acquis. On pourra ainsi consid\u00e9rer la cr\u00e9ativit\u00e9 dans les \u00e9changes en ligne au travers de l’\u00e9tude de nouvelles pratiques et habitudes dans l’interaction qui \u00e9mergent \u00e0 l’intersection des affordances communicatives, des artefacts\u00a0interactionnels et des structures normatives de l’interaction m\u00e9di\u00e9e par un objet technique (Develotte et al., 2011 : 18). La perspective interactionniste permet d’envisager l’innovation et la cr\u00e9ativit\u00e9 dans leur historicit\u00e9 et leur processus, au travers d’\u00e9thiques et de normes, dans leurs aspects divergents ou convergents.<\/p>\n
Huyghe (2017) nous rappelle que nous vivons dans un monde o\u00f9 l’innovation est \u00e9conomiquement syst\u00e9matis\u00e9e, que \u00ab le monde moderne a adopt\u00e9 la pouss\u00e9e technique comme principe d’intendance \u00bb (p.134) et que ces pouss\u00e9es techniques sont des \u00ab facteurs d’existence \u00bb qui modalisent des modes d’\u00eatre au monde et par l\u00e0, des pratiques (p. 136-7).<\/p>\n
Depuis la crise du COVID, le t\u00e9l\u00e9travail s\u2019est g\u00e9n\u00e9ralis\u00e9 \u00e0 une partie importante de la population (en f\u00e9vrier 2022, 27 % des salari\u00e9s \u00e9taient en t\u00e9l\u00e9travail contre 4 % en 2019, selon l\u2019enqu\u00eate de la DARES). Par cons\u00e9quent, les applications de communication \u00e0 distance (visioconf\u00e9rence, messageries instantan\u00e9es, streaming) ont \u00e9t\u00e9 utilis\u00e9es massivement par des publics non form\u00e9s et non volontaires. Si l\u2019\u00e9tude de la communication m\u00e9di\u00e9e par ordinateur (Herring, 1996) n\u2019est pas nouvelle, les interactions multimodales n\u2019ont jamais \u00e9t\u00e9 aussi r\u00e9pandues que depuis les limitations impos\u00e9es par la pand\u00e9mie mondiale. Or, les communications \u00e0 distance sont propices aux malentendus pour des publics non form\u00e9s, non-volontaires et dans un contexte d\u2019urgence. L\u2019\u00e9tude des leviers pour pr\u00e9server la sant\u00e9 des t\u00e9l\u00e9travailleurs et soutenir leur performance met en \u00e9vidence que \u00ab les cons\u00e9quences du t\u00e9l\u00e9travail sur la r\u00e9gulation organisationnelle, sur les conditions de travail, sur l\u2019engagement, le bien-\u00eatre, voire sur des outils ou postures manag\u00e9riales, sont diverses, vari\u00e9es, parfois contradictoires \u00bb (Ch\u00eanevert et al. 2023, p. 16).<\/p>\n
De mani\u00e8re plus large, on peut consid\u00e9rer que le travail artistique et cr\u00e9atif repose non sur les innovations elles-m\u00eames, sur ces pouss\u00e9es techniques, mais sur un travail de \u00ab d\u00e9couverte \u00bb des \u00ab possibilit\u00e9s de cette pouss\u00e9e dans le sens d’une attention aux dispositions inutilis\u00e9es de son dispositif \u00bb (Huyghe, 2017 : 136). Pierre-Damien Huyghe (2022) distingue ainsi une logique d’innovation<\/em> propre \u00e0 notre monde capitaliste et qui permet de produire des appareils techniques selon une logique marchande d’expansion de ce qui est profitable \u00e9conomiquement \u00e0 la soci\u00e9t\u00e9, d’une logique d’invention<\/em> qui demande aux designers, artistes et bricoleurs d’\u00eatre attentifs aux potentiels des appareils au-del\u00e0 de leurs attentes initiales, c’est-\u00e0-dire \u00ab un travail d’\u00e9veil \u2013 attentif, actif, cr\u00e9atif, exp\u00e9rimental et exp\u00e9rientiel \u2013 envers leurs possibilit\u00e9s encore insoup\u00e7onn\u00e9es \u00bb (Citton, 2023).<\/p>\nPour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n\u00a0Axe A : Le monde du travail : collectifs, risques, in\u00e9galit\u00e9s et gestion \u00e9thique<\/strong><\/h2>\nLes interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\nLes questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n\n\nComment se sont reconfigur\u00e9es les routines professionnelles post-covid ? Comment les employeurs et leur management font-ils face aux in\u00e9galit\u00e9s\u00a0d\u2019acc\u00e8s au t\u00e9l\u00e9travail ou \u00e0 l\u2019espace de travail physique ?<\/li>\nComment proposer des formations innovantes et \u00e9thiques \u00e0 la hauteur des enjeux de ces interactions multimodales au travail ?<\/li>\nQuel est le v\u00e9cu des nombreux professionnels, quel que soit leur niveau de qualification, qui se trouvent confront\u00e9s \u00e0 des injonctions d\u2019interactions par \u00e9crans y compris par intelligence artificielle, d\u00e9sormais accessibles \u00e0 un plus grand nombre d\u2019organisations ?<\/li>\nQuel espace les communications multimodales par \u00e9cran laissent-elles en mati\u00e8re d\u2019autonomie au travail, de cr\u00e9ativit\u00e9 et de socialisation dans des collectifs ?<\/li>\nComment se saisir dans l\u2019enseignement en particulier, des technologies num\u00e9riques \u00e9ducatives afin d\u2019accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\n<\/ul>\n<\/div>\n\nAxe B : Pratiques artistiques\u00a0<\/strong><\/h2>\nLes \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Pour cette \u00e9dition 2024 du colloque IMPEC, nous vous proposons d\u2019aborder la r\u00e9flexion autour de trois axes compl\u00e9mentaires, dont peuvent se saisir des disciplines et des protocoles m\u00e9thodologiques vari\u00e9s :<\/p>\n
Les interactions multimodales interviennent au c\u0153ur des processus de socialisation professionnelle (Saks et Gruman, 2021) et d\u2019organisation du travail notamment au niveau collaboratif (Benedetto-Meyer, 2023). Le t\u00e9l\u00e9travail et son management peuvent \u00eatre source d\u2019isolement social, psychologique, physique, organisationnel ou professionnel\u00a0et donc d\u00e9l\u00e9t\u00e8res dans la d\u00e9finition et contenu des t\u00e2ches, les rythmes du travail, l\u2019\u00e9quipe et enfin de l\u2019organisation (Ch\u00eanevert et al., 2023). Un engagement attentionnel in\u00e9dit (El Hachani, Grassin, R\u00e9mon, Vincent, 2022) est exig\u00e9 pour la collaboration ; de m\u00eame une adaptabilit\u00e9 et des strat\u00e9gies d\u2019intelligence collective sont attendues face aux bugs num\u00e9riques et aux rat\u00e9s interactionnels propres \u00e0 la communication \u00e0 distance (Ibnelka\u00efd & Vincent, 2022). Cependant l\u2019innovation et la cr\u00e9ativit\u00e9 sont \u00e9troitement li\u00e9es \u00e0 l\u2019utilit\u00e9 per\u00e7ue et leur l\u00e9gitimit\u00e9 dans les collectifs de travail (Alter, 2005). Les effets et les modifications de ces nouvelles modalit\u00e9s de travail sur les collectifs de travail, l\u2019innovation et la cr\u00e9ativit\u00e9 qui la sous-tend, peuvent alors \u00eatre \u00e9tudi\u00e9s \u00e0 travers les rites d\u2019interaction (Goffman, 1967), les relations interpersonnelles et les rapports sociaux (Bidart, 2021) ainsi que les risques psychosociaux encourus au travail (Vayre, 2019).<\/p>\n
Les questions suivantes pourront \u00eatre trait\u00e9es :<\/p>\n<\/div>\n
Les \u00e9crans et les technologies num\u00e9riques ont peu \u00e0 peu \u00e9t\u00e9 int\u00e9gr\u00e9es aux diff\u00e9rentes pratiques artistiques\u00a0et ouvrent une voie \u00e0 des formes d\u2019art aux fronti\u00e8res poreuses, cette \u00ab cr\u00e9ation num\u00e9rique \u00bb \u00e9tant v\u00e9cue comme des \u00ab exp\u00e9riences \u00bb (Leleu-Merviel, 2011). Ces formes h\u00e9t\u00e9rog\u00e8nes et \u00e9clat\u00e9es empruntent, en effet, aux arts graphiques et visuels (Net Art ; design graphique ; prompt Art), \u00e0 la litt\u00e9rature (g\u00e9n\u00e9rative, hypertextuelle, po\u00e9sie sonore, etc.), au cin\u00e9ma, mais aussi aux arts vivants (th\u00e9\u00e2tre, performance), et aux formes natives du num\u00e9rique jusqu\u2019aux algorithmes eux-m\u00eames (Paveau, 2017) quand le code est exploit\u00e9 comme un langage artistique (Saemmer, 2007). Cette dimension prot\u00e9iforme de l\u2019\u0153uvre num\u00e9rique, collaborative ne serait-ce que parce que l\u2019\u00e9criture du code est souvent d\u00e9l\u00e9gu\u00e9e, interroge le statut auctorial, plus encore alors que l\u2019IA s\u2019impose comme un agent de cr\u00e9ativit\u00e9. \u00a0Sur les sc\u00e8nes de th\u00e9\u00e2tre, les technologies \u00ab sont int\u00e9gr\u00e9es non seulement dans le dispositif sc\u00e9nique, mais aussi dans la dramaturgie, dans la chor\u00e9graphie, bref dans le processus d’\u00e9criture de l\u2019\u0153uvre \u00bb (Quinz, 2002 : 12). Avec le covid, les exp\u00e9riences en ligne du spectacle vivant se sont multipli\u00e9es\u00a0(Roques, 2020). L\u2019outil de visioconf\u00e9rence et les r\u00e9seaux sociaux sont devenus des laboratoires d\u2019exp\u00e9rience et peuvent avoir ouvert \u00ab une nouvelle forme th\u00e9\u00e2trale hybride voire d\u2019un nouveau genre artistique ou du moins d\u2019une nouvelle sc\u00e8ne possible \u00bb (Dieuzayde et Della Noce, 2020 : 52). On se demandera ce que le num\u00e9rique et les \u00e9crans font \u00e0 la performance et \u00e0 la r\u00e9ception. Pour Leeker et al. (2017) les cultures digitales sont des cultures performatives, et offrent des affordances nouvelles pour les pratiques et interventions performatives, au point de parler de performativit\u00e9 techno-sociale. Au sein des performance studies<\/em>, DeLahunta et al. (2017) explorent par exemple le r\u00f4le du num\u00e9rique dans la documentation et la transmission d\u2019id\u00e9es de mouvement. Dans le contexte sp\u00e9cifique de pratiques ancr\u00e9es dans une temporalit\u00e9, le lien entre objets chor\u00e9ographiques et objets num\u00e9riques est \u00e0 interroger. Schipper (2017) quant \u00e0 lui interroge la posture du fl\u00e2neur comme co-producteur ou spectateur performatif<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelles formes et esth\u00e9tiques les \u0153uvres num\u00e9riques dessinent-elles ? Comment les arts vivants jouent-il avec les \u00e9crans\u00a0num\u00e9riques ?<\/li>\nQue font les \u00e9crans \u00e0 la performance et \u00e0 la r\u00e9ception ?<\/li>\nComment la cr\u00e9ativit\u00e9 du \u00ab corps performatif \u00bb (Bourassa et Poissant, 2013) num\u00e9rique entre-t-elle en dialogue avec la cr\u00e9ativit\u00e9 du corps physiologique ?<\/li>\nQue nous apprend la cr\u00e9ativit\u00e9 de synth\u00e8se sur la cr\u00e9ativit\u00e9 ancr\u00e9e dans l\u2019enveloppe charnelle du cr\u00e9ateur ?<\/li>\nComment aborder ces pratiques artistiques et culturelles\u00a0en recherche ?<\/li>\nComment \u00e9ditorialiser la litt\u00e9rature ou plut\u00f4t les \u00e9critures num\u00e9riques ?<\/li>\nQuelle latitude cr\u00e9ative les chercheurs ont-ils dans l\u2019\u00e9ditorialisation des r\u00e9sultats de recherche ? (Develotte et al. 2021)<\/li>\nQuelle formation acad\u00e9mique \u00e0 ces nouvelles formes cr\u00e9atives ? Quels parcours peuvent \u00eatre propos\u00e9s ? avec quel mode d\u2019\u00e9valuation ?<\/li>\n<\/ul>\n\nUn espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Les questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n
Un espace d’exposition en pr\u00e9sentiel et en ligne permettra aux chercheurs-cr\u00e9ateurs qui le souhaitent d’exposer une de leurs \u0153uvres. Une notice est attendue pour expliciter les liens entre leur recherche et leur cr\u00e9ation ainsi que les liens avec IMPEC 2024.<\/strong><\/p>\n<\/div>\n<\/div>\n\nAxe C : \u00c9thique, \u00e9cologie<\/strong><\/h2>\nDes approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\nLes questions suivantes pourront \u00eatre adress\u00e9es :<\/p>\n<\/div>\n\n\nQuelle est l\u2019actualit\u00e9 des approches techno-critiques face aux innovations technologiques actuelles ?<\/li>\nQuelles mises en tensions possibles entre les routines d\u2019interaction m\u00e9diatis\u00e9e par les \u00e9crans et des positionnements \u00e9thiques ?<\/li>\nQuels usages des \u00e9crans sont compatibles avec des positionnements \u00e9thiques et \u00e9cologiques ?<\/li>\nComment se saisir des innovations num\u00e9riques en contexte \u00e9ducatif afin de se les approprier p\u00e9dagogiquement ? Comment accompagner les \u00e9tudiants pour favoriser leur r\u00e9ussite, leur esprit critique et leur cr\u00e9ativit\u00e9 ?<\/li>\nQuelles transitions cette transformation num\u00e9rique des pratiques culturelles et artistiques entra\u00eenent-elles dans le march\u00e9 de l\u2019art et de l\u2019\u00e9dition num\u00e9rique ?<\/li>\nComment concilier le march\u00e9 de la cr\u00e9ativit\u00e9 r\u00e9gi par des logiques \u00e9conomiques avec les enjeux \u00e9cologiques et \u00e9thiques ?<\/li>\n<\/ul>\n\n\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Des approches soulevant des questions \u00e9thiques ont vu le jour en diff\u00e9rentes disciplines, telles le droit (Pasquale, 2015), l\u2019anthropologie (Turkle, 2007) ou les sciences de l\u2019\u00e9ducation (Collin et al., 2022). Deux conceptions de l\u2019\u00e9thique se d\u00e9gagent : une \u00e9thique r\u00e9flexive et une normative. Dans l\u2019\u00e9thique r\u00e9flexive on trouve une mise en tension entre d\u2019une part la conception et les usages des \u00e9crans et d\u2019autre part des principes d\u2019organisation sociale, tels les principes de l\u2019humanisme (CNPEN, 2021) ou de la d\u00e9mocratie (Roelens, 2023). Ces recherches pointent des impens\u00e9s et peuvent \u00e9clairer les prises de d\u00e9cision. L\u2019\u00e9thique normative va pr\u00e9senter des aspects davantage tourn\u00e9s vers l\u2019action engag\u00e9e, avec une application de principes, par exemple pour une action politique participative (Bernholtz et al., 2021). Enfin, r\u00e9cemment la r\u00e9flexion sur le num\u00e9rique a soulev\u00e9 des questionnements concernant l\u2019impact \u00e9cologique de certaines technologies.<\/p>\n
\u00a0<\/strong><\/p>\nModalit\u00e9s de pr\u00e9sentation<\/strong><\/h2>\nNous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n\n\nLes communications orales<\/li>\nLes symposia<\/li>\nLes ateliers<\/li>\nLes posters<\/li>\n<\/ul>\n<\/div>\n\nEn fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Nous pr\u00e9voyons quatre modalit\u00e9s de pr\u00e9sentations possibles :<\/p>\n<\/div>\n
En fran\u00e7ais (avec support en anglais), anglais (avec support en fran\u00e7ais), espagnol, portugais, italien et allemand (avec support en fran\u00e7ais ou anglais).<\/strong><\/p>\n\nLe d\u00e9tail sur ces modalit\u00e9s est disponible sur cette page : https:\/\/impec.sciencesconf.org\/resource\/page\/id\/93<\/a><\/li>\nLa date butoir pour envoyer votre soumission en ligne est\u00a0le 08 octobre 2023.<\/strong>\u00a0Le d\u00e9p\u00f4t est uniquement sur le site du colloque : https:\/\/impec.sciencesconf.org\/submission\/submit<\/a><\/li>\nPour nous \u00e9crire, une adresse unique :\u00a0groupe.impec@gmail.com<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n\nR\u00e9f\u00e9rences :<\/strong><\/h2>\nAlter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Alter, N. (2005). L\u2019innovation ordinaire<\/em>. Paris : PUF.<\/p>\nBenedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Benedetto-Meyer, M. (2023). \u00a0Que deviennent les collectifs en t\u00e9l\u00e9travail ? Une analyse par l\u2019usage des outils collaboratifs,\u00a0SociologieS<\/em>\u00a0[En ligne], Dossiers, mis en ligne le\u00a001 mai 2023, consult\u00e9 le\u00a009 juillet 2023.\u00a0DOI : https:\/\/doi.org\/10.4000\/sociologies.20615<\/a> SMASH<\/a><\/p>\nBonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Bonnardel, N., & Lubart, T. (2019). La cr\u00e9ativit\u00e9 : approches et m\u00e9thodes en psychologie et en ergonomie. RIMHE : Revue Interdisciplinaire Management Homme (s) & Entreprise<\/em>, (4), 79-98.<\/p>\nBonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). 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Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Bonnardel, N., Girandola, F., Bonetto, E., & Lubart, T. (2023). La cr\u00e9ativit\u00e9 en situations : Th\u00e9ories et applications<\/em>. Dunod.<\/p>\nBourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. 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Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Bourassa, R. & Poissant, L. (dir.) (2013). Personnage virtuel et corps performatif. Effets de pr\u00e9sence.<\/em> Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/p>\nCitton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Citton, Y. (2023). Bienveillance. In Y. Citton, M. Lechner, & A. Masure (\u00c9ds.), Angles morts du num\u00e9rique ubiquitaire : Glossaire critique et amoureux<\/em> (p. 37\u201139). Presses du r\u00e9el.<\/p>\nCorazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\nDevelotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Corazza, G. E., & Lubart, T. (2020). Intelligence and creativity : Mapping constructs on the space-time continuum. Journal of Intelligence, 9(1), 1.<\/p>\n
Develotte, C., Kern, R. G., & Lamy, M.-N. (\u00c9ds.). (2011). D\u00e9crire la conversation en ligne. Le face \u00e0 face distanciel<\/em>. ENS Editions.<\/p>\nDevelotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Develotte, C., Bouquain, A., Tatiana, C., Combe, C., Domanchin, M., El Hachani, M., Furnon, D., Grassin, J.-F., Ibnelka\u00efd, S., Lascar, J., R\u00e9mon, J. & Vincent, C. (2021). Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Ateliers [Sens public]. http:\/\/ateliers.sens-public.org\/fabrique-de-l-interaction-parmi-les-ecrans\/<\/a> .<\/p>\nDeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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DeLahunta, S, Jenett, F. (2017). Making digital choreographic objects interrelate. A focus on coding practices<\/em>. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. Performativity and Performance Studies in<\/em>Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 63\u201379. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2079.<\/a> SMASH<\/a><\/p>\nDieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Dieuzayde, L. \u00a0& Della Noce, E. (2020). \u00ab La visioconf\u00e9rence comme sc\u00e8ne transm\u00e9diale \u00bb dans Incertains regards. Cahiers dramaturgiques<\/em>.<\/p>\nHuyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Huyghe, P.-D. (2017). Contre-temps : De la recherche et de ses enjeux : arts, architecture, design.<\/em> Editions B42.<\/p>\nHuyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Huyghe, P.-D. (2022). Num\u00e9rique : La tentation du service<\/em>. \u00c9ditions B42.<\/p>\nLeeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Leeker, M., Schipper, I. & Beyes, T. (2016). \u00ab Performativity, performance studies and digital cultures \u00bb. Performing the Digital : Performance Studies and Performances in Digital Cultures<\/em>, edited by Timon Beyes, Martina Leeker and Imanuel Schipper, Bielefeld : transcript Verlag, pp. 9-18. https:\/\/doi.org\/10.1515\/9783839433553-001<\/a> SMASH<\/a><\/p>\nOCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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OCDE\/Eurostat (2019), Manuel d\u2019Oslo 2018 :\u00a0Lignes directrices pour le recueil, la communication et l\u2019utilisation des donn\u00e9es sur l\u2019innovation, 4\u00e8me \u00e9dition<\/em>, Mesurer les activit\u00e9s scientifiques, technologiques et d’innovation, \u00c9ditions OCDE, Paris, https:\/\/doi.org\/10.1787\/c76f1c7b-fr<\/a> SMASH<\/a>.<\/p>\nPaveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Paveau, M.-A. (2017). L’analyse du discours num\u00e9rique. Dictionnaire des formes et des pratiques<\/em>. Hermann.<\/p>\nQuinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Quinz, E. (2002) \u00ab Digital performance, Editorial \u00bb, Anomalie, Digital_arts<\/em>, n\u00b0 2, Bolzano (Italie), Museo d’Arte Moderna.<\/p>\nRoques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\nSaemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 […]<\/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":[608,180,92,90],"thematique":[35,39],"sfsic":[],"class_list":["post-29392","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-ecran","tag-ethique","tag-innovation","tag-numerique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"\nColloque IMPEC 2024 : cr\u00e9ativit\u00e9, innovation et \u00e9thique<\/title>\n<meta name=\"description\" content=\"Le Colloque IMPEC 2024 sera consacr\u00e9 \u00e0 la cr\u00e9ativit\u00e9, \u00e0 l'innovation et \u00e0 l\u2019\u00e9thique.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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Roques, S. (2020). \u00ab Entre dystopies et utopies artistiques : la cr\u00e9ation au temps du coronavirus \u00bb. Recherches & \u00e9ducations. URL : https:\/\/journals.openedition.org\/rechercheseducations\/9993 .<\/p>\n
Saemmer, A. (2007). Mati\u00e8res textuelles sur support num\u00e9rique<\/em> (Vol. 132). Universit\u00e9 de Saint-\u00c9tienne.<\/p>\nSchipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Schipper, I. (2017). \u201cFrom fl\u00e2neur to co-producer. The performative spectator\u201d. In : Martina Leeker, Imanuel Schipper, Timon Beyes (Hg.) : Performing the Digital. <\/em>Performativity and Performance Studies in Digital Cultures<\/em>. Bielefeld : transcript 2017, S. 191\u2013209. DOI : https:\/\/doi.org\/10.25969\/mediarep\/2133.<\/a> SMASH<\/a><\/p>\nBidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Bidart, C. (2021). \u00ab Que fait la crise aux relations interpersonnelles et aux ressorts des liens ? \u00bb. Nicolas Mariot, Pierre Merckl\u00e9, Anton Perdoncin. Personne ne bouge ! Une enqu\u00eate sur le confinement du printemps 2020<\/em>, UGA editions, p.173-181, 978-2-37747-243-7.<\/p>\nEl Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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El Hachani, M., Grassin, J.-F., R\u00e9mon, J. & Vincent, C. (2021) \u201cAffordances attentionnelles dans un s\u00e9minaire instrument\u00e9\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>. Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nHerring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Herring, S. C. (Ed.). (1996). Computer-Mediated Communication : Linguistic, Social and Cross-Cultural Perspectives<\/em>. Pragmatics and Beyond series. Amsterdam : John Benjamins.<\/p>\nIbnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Ibnelka\u00efd, S. & Vincent, C. (2021). \u201cLes bugs num\u00e9riques et rat\u00e9s interactionnels au service d\u2019une intelligence collective\u201d. Fabrique de l\u2019interaction parmi les \u00e9crans : formes de pr\u00e9sences en recherche et en formation<\/em>, Editions Ateliers de sens public, Montr\u00e9al, Canada.<\/p>\nSaks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. Le travail humain, 82<\/em>, 1-39.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\n\u00c9crans<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nInnovation<\/span><\/a><\/li>\nNum\u00e9rique<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 23 septembre 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 08\/10\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 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Saks, A. M., & Gruman, J. A. (2021). How do you socialize newcomers during a pandemic ? Industrial and Organizational Psychology<\/em>, 14(1-2), 217-220.<\/p>\nVayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. 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Vayre, \u00c9. (2019). Les incidences du t\u00e9l\u00e9travail sur le travailleur dans les domaines professionnel, familial et social. 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