<\/p>\n
\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 27\/05\/2024<\/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\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 19\/09\/2024<\/time> au 20\/09\/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\n\t\t\t\t\t\t\t\t\t\t\t\t\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts<\/span>,<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\tAvignon Universit\u00e9<\/span>,<\/p>\n\t\t\t\t\t\tAvignon<\/span>\t\t\t\t\t\t84000<\/span>, France<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nL\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024<\/p>\nPr\u00e9sentation<\/h2>\nL\u2019EUR InterMEDIUS (https:\/\/intermedius.univ-avignon.fr\/<\/a>) et plusieurs partenaires organisent l\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb. Ces journ\u00e9es scientifiques s\u2019inscrivent dans le R\u00e9seau franco-italien de recherche interdisciplinaire (https:\/\/fr-it.org\/<\/a>) qui vise \u00e0 solidifier les liens entre des universit\u00e9s fran\u00e7aises et italiennes autour de projets destin\u00e9s aux disciplines des sciences humaines et sociales et des arts. Depuis douze ans, ce r\u00e9seau a permis l\u2019organisation de cinq manifestations majeures (Bordeaux 2012, Bologne 2014, Paris 2017, Bordeaux 2019, Rome 2022) avec publication des actes. La prochaine \u00e9dition, labellis\u00e9e par l\u2019UFI (https:\/\/www.universite-franco-italienne.org<\/a>), est pr\u00e9vue \u00e0 Avignon les 19 et 20 septembre 2024. \u00c0 ce titre, cet appel \u00e0 communication s\u2019adresse \u00e0 tous les chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, etc. qui souhaitent intervenir lors de ces journ\u00e9es scientifiques.<\/p>\nEn partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n\n\nAxe 1 : Les arts dans les m\u00e9dias<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Marie-Caroline Neuvillers, Ga\u00ebtan Rivi\u00e8re<\/h3>\n<\/div>\n<\/div>\n\n\nAu moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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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\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 19\/09\/2024<\/time> au 20\/09\/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\n\t\t\t\t\t\t\t\t\t\t\t\t\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts<\/span>,<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\tAvignon Universit\u00e9<\/span>,<\/p>\n\t\t\t\t\t\tAvignon<\/span>\t\t\t\t\t\t84000<\/span>, France<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nL\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024<\/p>\nPr\u00e9sentation<\/h2>\nL\u2019EUR InterMEDIUS (https:\/\/intermedius.univ-avignon.fr\/<\/a>) et plusieurs partenaires organisent l\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb. Ces journ\u00e9es scientifiques s\u2019inscrivent dans le R\u00e9seau franco-italien de recherche interdisciplinaire (https:\/\/fr-it.org\/<\/a>) qui vise \u00e0 solidifier les liens entre des universit\u00e9s fran\u00e7aises et italiennes autour de projets destin\u00e9s aux disciplines des sciences humaines et sociales et des arts. Depuis douze ans, ce r\u00e9seau a permis l\u2019organisation de cinq manifestations majeures (Bordeaux 2012, Bologne 2014, Paris 2017, Bordeaux 2019, Rome 2022) avec publication des actes. La prochaine \u00e9dition, labellis\u00e9e par l\u2019UFI (https:\/\/www.universite-franco-italienne.org<\/a>), est pr\u00e9vue \u00e0 Avignon les 19 et 20 septembre 2024. \u00c0 ce titre, cet appel \u00e0 communication s\u2019adresse \u00e0 tous les chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, etc. qui souhaitent intervenir lors de ces journ\u00e9es scientifiques.<\/p>\nEn partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n\n\nAxe 1 : Les arts dans les m\u00e9dias<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Marie-Caroline Neuvillers, Ga\u00ebtan Rivi\u00e8re<\/h3>\n<\/div>\n<\/div>\n\n\nAu moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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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\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 19\/09\/2024<\/time> au 20\/09\/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\n\t\t\t\t\t\t\t\t\t\t\t\t\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts<\/span>,<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\tAvignon Universit\u00e9<\/span>,<\/p>\n\t\t\t\t\t\tAvignon<\/span>\t\t\t\t\t\t84000<\/span>, France<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nL\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024<\/p>\nPr\u00e9sentation<\/h2>\nL\u2019EUR InterMEDIUS (https:\/\/intermedius.univ-avignon.fr\/<\/a>) et plusieurs partenaires organisent l\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb. Ces journ\u00e9es scientifiques s\u2019inscrivent dans le R\u00e9seau franco-italien de recherche interdisciplinaire (https:\/\/fr-it.org\/<\/a>) qui vise \u00e0 solidifier les liens entre des universit\u00e9s fran\u00e7aises et italiennes autour de projets destin\u00e9s aux disciplines des sciences humaines et sociales et des arts. Depuis douze ans, ce r\u00e9seau a permis l\u2019organisation de cinq manifestations majeures (Bordeaux 2012, Bologne 2014, Paris 2017, Bordeaux 2019, Rome 2022) avec publication des actes. La prochaine \u00e9dition, labellis\u00e9e par l\u2019UFI (https:\/\/www.universite-franco-italienne.org<\/a>), est pr\u00e9vue \u00e0 Avignon les 19 et 20 septembre 2024. \u00c0 ce titre, cet appel \u00e0 communication s\u2019adresse \u00e0 tous les chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, etc. qui souhaitent intervenir lors de ces journ\u00e9es scientifiques.<\/p>\nEn partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n\n\nAxe 1 : Les arts dans les m\u00e9dias<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Marie-Caroline Neuvillers, Ga\u00ebtan Rivi\u00e8re<\/h3>\n<\/div>\n<\/div>\n\n\nAu moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation<\/title>\n<meta name=\"description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation\" \/>\n<meta property=\"og:description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-04-28T18:28:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-29T14:51:22+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"author\":{\"name\":\"Axelle Martin\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/d3606993477708f4359fb9aeda58df3b\"},\"headline\":\"“M\u00e9dias & Arts” – Communication, Langage, Cr\u00e9ation\",\"datePublished\":\"2024-04-28T18:28:13+00:00\",\"dateModified\":\"2024-04-29T14:51:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"wordCount\":2663,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Arts\",\"M\u00e9dias\"],\"articleSection\":[\"AAC \u00c9v\u00e9nement\",\"Colloque\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"name\":\"\\\"M\u00e9dias & Arts\\\" - 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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\n\t\t\t\t\t\t\t\t\t\t\t\t\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts<\/span>,<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\tAvignon Universit\u00e9<\/span>,<\/p>\n\t\t\t\t\t\tAvignon<\/span>\t\t\t\t\t\t84000<\/span>, France<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nL\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024<\/p>\nPr\u00e9sentation<\/h2>\nL\u2019EUR InterMEDIUS (https:\/\/intermedius.univ-avignon.fr\/<\/a>) et plusieurs partenaires organisent l\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb. Ces journ\u00e9es scientifiques s\u2019inscrivent dans le R\u00e9seau franco-italien de recherche interdisciplinaire (https:\/\/fr-it.org\/<\/a>) qui vise \u00e0 solidifier les liens entre des universit\u00e9s fran\u00e7aises et italiennes autour de projets destin\u00e9s aux disciplines des sciences humaines et sociales et des arts. Depuis douze ans, ce r\u00e9seau a permis l\u2019organisation de cinq manifestations majeures (Bordeaux 2012, Bologne 2014, Paris 2017, Bordeaux 2019, Rome 2022) avec publication des actes. La prochaine \u00e9dition, labellis\u00e9e par l\u2019UFI (https:\/\/www.universite-franco-italienne.org<\/a>), est pr\u00e9vue \u00e0 Avignon les 19 et 20 septembre 2024. \u00c0 ce titre, cet appel \u00e0 communication s\u2019adresse \u00e0 tous les chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, etc. qui souhaitent intervenir lors de ces journ\u00e9es scientifiques.<\/p>\nEn partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n\n\nAxe 1 : Les arts dans les m\u00e9dias<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Marie-Caroline Neuvillers, Ga\u00ebtan Rivi\u00e8re<\/h3>\n<\/div>\n<\/div>\n\n\nAu moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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\t\t\t\t\t\t\t\t\t\t\t\tAvignon Universit\u00e9<\/span>,<\/p>\n\t\t\t\t\t\tAvignon<\/span>\t\t\t\t\t\t84000<\/span>, France<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nL\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024<\/p>\nPr\u00e9sentation<\/h2>\nL\u2019EUR InterMEDIUS (https:\/\/intermedius.univ-avignon.fr\/<\/a>) et plusieurs partenaires organisent l\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb. Ces journ\u00e9es scientifiques s\u2019inscrivent dans le R\u00e9seau franco-italien de recherche interdisciplinaire (https:\/\/fr-it.org\/<\/a>) qui vise \u00e0 solidifier les liens entre des universit\u00e9s fran\u00e7aises et italiennes autour de projets destin\u00e9s aux disciplines des sciences humaines et sociales et des arts. Depuis douze ans, ce r\u00e9seau a permis l\u2019organisation de cinq manifestations majeures (Bordeaux 2012, Bologne 2014, Paris 2017, Bordeaux 2019, Rome 2022) avec publication des actes. La prochaine \u00e9dition, labellis\u00e9e par l\u2019UFI (https:\/\/www.universite-franco-italienne.org<\/a>), est pr\u00e9vue \u00e0 Avignon les 19 et 20 septembre 2024. \u00c0 ce titre, cet appel \u00e0 communication s\u2019adresse \u00e0 tous les chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, etc. qui souhaitent intervenir lors de ces journ\u00e9es scientifiques.<\/p>\nEn partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n\n\nAxe 1 : Les arts dans les m\u00e9dias<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Marie-Caroline Neuvillers, Ga\u00ebtan Rivi\u00e8re<\/h3>\n<\/div>\n<\/div>\n\n\nAu moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation<\/title>\n<meta name=\"description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation\" \/>\n<meta property=\"og:description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-04-28T18:28:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-29T14:51:22+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"author\":{\"name\":\"Axelle Martin\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/d3606993477708f4359fb9aeda58df3b\"},\"headline\":\"“M\u00e9dias & Arts” – Communication, Langage, Cr\u00e9ation\",\"datePublished\":\"2024-04-28T18:28:13+00:00\",\"dateModified\":\"2024-04-29T14:51:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"wordCount\":2663,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Arts\",\"M\u00e9dias\"],\"articleSection\":[\"AAC \u00c9v\u00e9nement\",\"Colloque\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"name\":\"\\\"M\u00e9dias & Arts\\\" - 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\t\t\t\t\t\tAvignon<\/span>\t\t\t\t\t\t84000<\/span>, France<\/span>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nL\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024<\/p>\nPr\u00e9sentation<\/h2>\nL\u2019EUR InterMEDIUS (https:\/\/intermedius.univ-avignon.fr\/<\/a>) et plusieurs partenaires organisent l\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb. Ces journ\u00e9es scientifiques s\u2019inscrivent dans le R\u00e9seau franco-italien de recherche interdisciplinaire (https:\/\/fr-it.org\/<\/a>) qui vise \u00e0 solidifier les liens entre des universit\u00e9s fran\u00e7aises et italiennes autour de projets destin\u00e9s aux disciplines des sciences humaines et sociales et des arts. Depuis douze ans, ce r\u00e9seau a permis l\u2019organisation de cinq manifestations majeures (Bordeaux 2012, Bologne 2014, Paris 2017, Bordeaux 2019, Rome 2022) avec publication des actes. La prochaine \u00e9dition, labellis\u00e9e par l\u2019UFI (https:\/\/www.universite-franco-italienne.org<\/a>), est pr\u00e9vue \u00e0 Avignon les 19 et 20 septembre 2024. \u00c0 ce titre, cet appel \u00e0 communication s\u2019adresse \u00e0 tous les chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, etc. qui souhaitent intervenir lors de ces journ\u00e9es scientifiques.<\/p>\nEn partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n\n\nAxe 1 : Les arts dans les m\u00e9dias<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Marie-Caroline Neuvillers, Ga\u00ebtan Rivi\u00e8re<\/h3>\n<\/div>\n<\/div>\n\n\nAu moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024<\/p>\n
L\u2019EUR InterMEDIUS (https:\/\/intermedius.univ-avignon.fr\/<\/a>) et plusieurs partenaires organisent l\u2019\u00c9cole Th\u00e9matique Internationale \u00ab M\u00e9dias et Arts \u00bb. Ces journ\u00e9es scientifiques s\u2019inscrivent dans le R\u00e9seau franco-italien de recherche interdisciplinaire (https:\/\/fr-it.org\/<\/a>) qui vise \u00e0 solidifier les liens entre des universit\u00e9s fran\u00e7aises et italiennes autour de projets destin\u00e9s aux disciplines des sciences humaines et sociales et des arts. Depuis douze ans, ce r\u00e9seau a permis l\u2019organisation de cinq manifestations majeures (Bordeaux 2012, Bologne 2014, Paris 2017, Bordeaux 2019, Rome 2022) avec publication des actes. La prochaine \u00e9dition, labellis\u00e9e par l\u2019UFI (https:\/\/www.universite-franco-italienne.org<\/a>), est pr\u00e9vue \u00e0 Avignon les 19 et 20 septembre 2024. \u00c0 ce titre, cet appel \u00e0 communication s\u2019adresse \u00e0 tous les chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, etc. qui souhaitent intervenir lors de ces journ\u00e9es scientifiques.<\/p>\nEn partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n\n\nAxe 1 : Les arts dans les m\u00e9dias<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Marie-Caroline Neuvillers, Ga\u00ebtan Rivi\u00e8re<\/h3>\n<\/div>\n<\/div>\n\n\nAu moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation<\/title>\n<meta name=\"description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation\" \/>\n<meta property=\"og:description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-04-28T18:28:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-29T14:51:22+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"author\":{\"name\":\"Axelle Martin\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/d3606993477708f4359fb9aeda58df3b\"},\"headline\":\"“M\u00e9dias & Arts” – Communication, Langage, Cr\u00e9ation\",\"datePublished\":\"2024-04-28T18:28:13+00:00\",\"dateModified\":\"2024-04-29T14:51:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"wordCount\":2663,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Arts\",\"M\u00e9dias\"],\"articleSection\":[\"AAC \u00c9v\u00e9nement\",\"Colloque\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"name\":\"\\\"M\u00e9dias & Arts\\\" - 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En partant des enjeux \u00e9pist\u00e9mologiques li\u00e9s au concept de \u00ab cr\u00e9ation \u00bb \u2013 l\u2019un des quatre axes fondateurs de l\u2019EUR InterMEDIUS \u2013 cet \u00e9v\u00e9nement permettra d\u2019explorer deux volets de recherche : \u00ab Les arts dans les m\u00e9dias \u00bb (1) et \u00ab Les m\u00e9dias dans les arts \u00bb (2). Aujourd\u2019hui, la vision industrielle de la cr\u00e9ation (normalisation, rationalisation, g\u00e9n\u00e9ration) se d\u00e9veloppe dans de nombreux secteurs de la soci\u00e9t\u00e9, si bien qu\u2019il devient difficile de distinguer les \u00ab artistes \u00bb (et leurs \u0153uvres) des \u00ab cr\u00e9ateurs \u00bb (et leurs contenus m\u00e9diatiques). Les m\u00e9dias contemporains offrent aux utilisateurs la possibilit\u00e9 de produire et\/ou faire circuler massivement des contenus efficaces, tout en r\u00e9duisant la complexit\u00e9 de l\u2019exp\u00e9rience esth\u00e9tique \u00e0 de simples donn\u00e9es num\u00e9riques.<\/p>\n
Au moment o\u00f9 les industries culturelles et cr\u00e9atives (ICC) s\u2019agr\u00e8gent \u00e0 certains m\u00e9dias h\u00e9rit\u00e9s de la cybern\u00e9tique (Wiener, 1952) sur une multiplicit\u00e9 d\u2019\u00e9crans (Chabert, 2017), divers formats apparaissent : de l\u2019art num\u00e9rique aux \u00e9critures interactives (Ibanez Bueno et al.<\/em>, 2021), en passant par les imaginaires transm\u00e9diatiques (Leiduan, 2023), les web-s\u00e9ries (Neuvillers, 2019), les exp\u00e9riences immersives (Ghoul Samson et Bonfils, 2018) ou les m\u00e9dias de m\u00e9dias (Renucci et al.<\/em>, 2020). D\u00e8s lors, nous pourrions nous risquer \u00e0 cloisonner la cr\u00e9ation artistique dans une \u00e9ni\u00e8me forme d\u2019automatisation (Stiegler, 2015) de l\u2019information ordonn\u00e9e par les m\u00e9dias num\u00e9riques. Or, l\u2019artiste n\u2019informe pas, il communique (Renucci et Galli, 2022). Une \u0153uvre ne nous renseigne pas sur un sujet ou son auteur, mais elle permet \u00e0 ce dernier de communiquer des sentiments. L\u2019artiste, \u00e9metteur incarn\u00e9, fait \u00e9merger des cr\u00e9ations \u00e0 partir de son corps vivant (Damasio, 2017). Le public, r\u00e9cepteur, se met \u00e0 interpr\u00e9ter, avec tous les malentendus heuristiques associ\u00e9s. Peut-on remonter jusqu\u2019\u00e0 l\u2019acte de communication tant\u00f4t politique, tant\u00f4t \u00e9thique, qui sous-tend la cr\u00e9ation ? Les m\u00e9dias peuvent-ils devenir des outils pour la cr\u00e9ation ?<\/p>\nDans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation<\/title>\n<meta name=\"description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation\" \/>\n<meta property=\"og:description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-04-28T18:28:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-29T14:51:22+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"author\":{\"name\":\"Axelle Martin\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/d3606993477708f4359fb9aeda58df3b\"},\"headline\":\"“M\u00e9dias & Arts” – Communication, Langage, Cr\u00e9ation\",\"datePublished\":\"2024-04-28T18:28:13+00:00\",\"dateModified\":\"2024-04-29T14:51:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"wordCount\":2663,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Arts\",\"M\u00e9dias\"],\"articleSection\":[\"AAC \u00c9v\u00e9nement\",\"Colloque\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"name\":\"\\\"M\u00e9dias & Arts\\\" - 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Dans ce mouvement d\u2019int\u00e9gration des arts dans les m\u00e9dias, les arts du spectacle vivant investissent les technologies (F\u00e9ral et Perrot, 2013), se faisant natifs d\u2019un univers o\u00f9 leur corpor\u00e9it\u00e9 inh\u00e9rente n\u2019aurait pas droit de cit\u00e9. L\u2019interm\u00e9dialit\u00e9 des pratiques permet l\u2019essor de nouvelles disciplines comme, par exemple, le Screen Circus<\/em>, la Screendance<\/em> (Rosenberg, 2012) ou encore le th\u00e9\u00e2tre immersif (Garson, 2021 ; Biggin, 2017). Alors que le spectacle vivant \u00e0 l\u2019\u00e8re num\u00e9rique porte en lui un grand nombre d\u2019enjeux dans la cr\u00e9ation et la diffusion (Gonzalez et Landau, 2022), les artistes cherchent \u00e0 s\u2019approprier les m\u00e9dias et les plateformes, les explorer, cr\u00e9er, \u00e9ditorialiser leurs contenus pour se raconter publiquement, performant de nouvelles virtualit\u00e9s. Ces potentialit\u00e9s sont mises en tension avec les normes \u00e9conomiques et productivistes propres \u00e0 l\u2019\u00e9cosyst\u00e8me int\u00e9gr\u00e9. En reprenant les codes des nouveaux m\u00e9dias, comme le d\u00e9voilement du work in progress<\/em>, les artistes se confrontent \u00e0 un autre agent de l\u2019art que sont les plateformes num\u00e9riques elles-m\u00eames. Cette \u00e9conomie de la cr\u00e9ation num\u00e9rique int\u00e8gre de nouveaux acteurs par le biais d\u2019un dispositif fond\u00e9 sur l\u2019id\u00e9e de cr\u00e9ativit\u00e9. En effet, les usages de la notion de \u00ab cr\u00e9ativit\u00e9 \u00bb \u2013 courante dans les discours produits par les industries culturelles et cr\u00e9atives \u2013 sont autant d\u2019injonctions \u00e0 la cr\u00e9ativit\u00e9 (Bouquillion, Mi\u00e8ge et M\u0153glin, 2015) pour des publics que des pratiques permettent de qualifier de spectateurs-acteurs. La multitude d\u2019outils mis \u00e0 disposition des utilisateurs les enjoignent \u00e0 produire et faire circuler des contenus dont les formes sont aussi le r\u00e9sultat de contraintes et de directions du dispositif de ces plateformes. Ces derni\u00e8res sont le moyen de contourner les interm\u00e9diaires traditionnels du monde des m\u00e9dias. Elles permettent d\u2019int\u00e9grer des logiques de cr\u00e9ation et de production nouvelles fond\u00e9es sur l\u2019entreprise individuelle, se faisant l\u2019agent omnipotent de ce nouvel \u00e9cosyst\u00e8me de cr\u00e9ation.<\/p>\nNous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n\n\nAxe 2 : Les m\u00e9dias dans les arts<\/h2>\n<\/div>\n<\/div>\n\n\nResponsables : Sam Cornu, Nathalie Mac\u00e9<\/h3>\n<\/div>\n<\/div>\n\n\nLes rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation<\/title>\n<meta name=\"description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""M\u00e9dias & Arts" - Communication, Langage, Cr\u00e9ation\" \/>\n<meta property=\"og:description\" content=\"L\u2019\u00c9cole Th\u00e9matique Internationale \u00ab\u00a0M\u00e9dias et Arts\u00a0\u00bb se tiendra \u00e0 Avignon Universit\u00e9 les 19 et 20 septembre 2024\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-evenement\/medias-arts-communication-langage-creation\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-04-28T18:28:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-04-29T14:51:22+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"author\":{\"name\":\"Axelle Martin\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/d3606993477708f4359fb9aeda58df3b\"},\"headline\":\"“M\u00e9dias & Arts” – Communication, Langage, Cr\u00e9ation\",\"datePublished\":\"2024-04-28T18:28:13+00:00\",\"dateModified\":\"2024-04-29T14:51:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\"},\"wordCount\":2663,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Arts\",\"M\u00e9dias\"],\"articleSection\":[\"AAC \u00c9v\u00e9nement\",\"Colloque\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-evenement\\\/medias-arts-communication-langage-creation\\\/\",\"name\":\"\\\"M\u00e9dias & Arts\\\" - 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Nous privil\u00e9gierons dans cet axe les corpus qui permettent d\u2019\u00e9tudier la tension entre la \u00ab cr\u00e9ativit\u00e9 \u00bb, d\u2019une part, dans le sillage de l\u2019industrialisation de la culture, et la \u00ab cr\u00e9ation \u00bb, d\u2019autre part, qui est en rupture avec ces logiques. Les pratiques d\u2019artistes et\/ou de chercheurs de nombreuses disciplines pourraient \u00eatre approch\u00e9es gr\u00e2ce \u00e0 l\u2019analyse des traces de leurs travaux (discursives, iconographiques, m\u00e9diatiques, etc.). Certains corpus pourraient fournir des connaissances d\u00e9cisives sur des aspects m\u00e9connus du processus de cr\u00e9ation. L\u2019angle des m\u00e9dias offre des perspectives interdisciplinaires stimulantes pour rep\u00e9rer \u00ab l\u2019art en train de se faire \u00bb, du fait du nombre important de documents, donn\u00e9es et m\u00e9thodes (quantitatives, qualitatives) disponibles pour analyser les cr\u00e9ations des auteurs et l\u2019ensemble de la cha\u00eene qui permet ces r\u00e9alisations, jusqu\u2019\u00e0 leur diffusion m\u00e9diatique et leur r\u00e9ception par les diff\u00e9rents publics.<\/p>\n
Les rapports entre les m\u00e9dias et les arts peuvent aussi \u00eatre \u00e9tudi\u00e9s sous le signe de l\u2019inclusion des premiers dans les seconds. Les m\u00e9dias deviennent alors soit les sujets ou les objets de la repr\u00e9sentation artistique, soit les moyens ou les outils de la repr\u00e9sentation. Les rivaux, voire porteurs d\u2019une menace, qu\u2019ils sont souvent dans l\u2019esprit des artistes dans le domaine de la communication avec le public, sont r\u00e9cup\u00e9r\u00e9s, exploit\u00e9s, montr\u00e9s ou d\u00e9mont\u00e9s dans des \u0153uvres qui prennent d\u00e8s lors volontiers une dimension autor\u00e9flexive. Les \u00e9tudes de cet axe pourront s\u2019int\u00e9resser aux m\u00e9dias les plus vari\u00e9s (presse \u00e9crite, radio, t\u00e9l\u00e9vision, cin\u00e9ma, Internet, etc.) et \u00e0 tous les arts (litt\u00e9rature, th\u00e9\u00e2tre, op\u00e9ra, cirque et autres arts du spectacle vivant, cin\u00e9ma, peinture, photographie, etc.), dans toutes les aires g\u00e9ographiques et \u00e0 diff\u00e9rentes \u00e9poques. En France, on pourrait mesurer l\u2019\u00e9volution parcourue depuis le XIXe<\/sup> si\u00e8cle qui voit se d\u00e9velopper consid\u00e9rablement la presse \u00e9crite (comme l\u2019a montr\u00e9 Honor\u00e9 de Balzac dans son roman Illusions perdues<\/em>), jusqu\u2019\u00e0 notre \u00e9poque contemporaine qui multiplie les supports m\u00e9diatiques et num\u00e9riques, en passant par les bouleversements induits par le cin\u00e9ma (Gu\u00e9rin, 2007), la radio (Le R\u00eaveur <\/i>de Jean Vauthier met en sc\u00e8ne la confrontation entre un po\u00e8te id\u00e9aliste et un producteur de radio cynique et manipulateur) et la t\u00e9l\u00e9vision (au centre de la pi\u00e8ce de Michel Vinaver L\u2019\u00c9mission de t\u00e9l\u00e9vision<\/em> ou de la pi\u00e8ce de Patrick Tudoret Les Hauts Plateaux<\/em>).<\/p>\nAu XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Au XXIe<\/sup> si\u00e8cle, si les nouveaux m\u00e9dias int\u00e8grent les arts du spectacle vivant, d\u00e9veloppant les mouvements d\u2019arts du spectacle num\u00e9riques ou de digital performances<\/em> (Dixon, 2007 ; Rush, 2005), les dispositifs technologiques s\u2019int\u00e8grent, dans leur mat\u00e9rialit\u00e9 m\u00eame, dans les propositions dramaturgiques (Eckersall, Grehan et Scheer, 2016) et sc\u00e9nographiques. Ces disciplines hybrides entre arts visuels et arts du corps explorent de nouveaux champs : d\u00e9voilement de l\u2019invisible, exploration des espaces-temps, transformation de la mati\u00e8re. La sc\u00e8ne devient le carrefour de diff\u00e9rents m\u00e9dias et le spectacle se fait interm\u00e9dial (Pluta, 2011) produisant de nouveaux modes de repr\u00e9sentation : strat\u00e9gies dramaturgiques, mises en sc\u00e8ne des mots, des images et des sons, repositionnement des corps dans l\u2019espace et le temps et l\u2019interrelation de ces deux plans (Chapple et Kattenbelt, 2006). Par exemple, dans Le Mouvement de l\u2019air<\/em>, Claire B et Adrien M rendent visible la mani\u00e8re dont les corps changent par la superposition des images sur le r\u00e9el ; les animaux holographiques de l\u2019\u00c9cocirque permettent d\u2019explorer de nouvelles \u00e9copo\u00e9tiques (Rivi\u00e8re, 2022) ; les \u00e9crans gigantesques du jeune artiste \u00c9ric Minh Cuong Castaing interrogent les technologies, exp\u00e9rimentant l\u2019empathie num\u00e9rique prise dans le mouvement incessant du live stream<\/em>.<\/p>\nQuand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n\n\n\nD\u00e9p\u00f4t des candidatures<\/h2>\nUNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Quand les m\u00e9dias apparaissent dans une \u0153uvre artistique, notamment sous la forme de personnages ou de situations, il s\u2019agira de se demander quels aspects sont mis en avant : commerciaux, id\u00e9ologiques, esth\u00e9tiques ? Il sera \u00e9galement int\u00e9ressant d\u2019approfondir les motivations de ces choix de repr\u00e9sentation : pourquoi donner \u00e0 voir ou \u00e0 entendre les relations entre les deux formes de communication artistique et m\u00e9diatique ? Pour interroger leurs tensions ou leurs liens ? Pour comparer leurs moyens et leurs enjeux ? Enfin, dans les arts du spectacle vivant, comment pourrait-on questionner les formes hybrides qui r\u00e9sultent de l\u2019utilisation des m\u00e9dias comme moyens de la cr\u00e9ation artistique ?<\/p>\n
UNIQUEMENT PAR MAIL<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n<\/div>\n<\/div>\n\n\n Propositions : avant le 27 mai 2024<\/span><\/li>\nAcceptation ou refus : juin 2024<\/span><\/li>\nInterventions : 19 et 20 septembre 2024<\/span><\/li>\nArticles complets : lundi 24 mars 2025<\/span><\/li>\nInscription des intervenants : gratuite <\/span><\/li>\n<\/ul>\n\n\nSi vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\nCette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Si vous souhaitez intervenir lors de cette \u00c9cole Th\u00e9matique Internationale, vous pouvez nous transmettre un court r\u00e9sum\u00e9 de votre potentielle prise de parole en fran\u00e7ais. Tous les statuts peuvent \u00eatre accept\u00e9s (chercheurs, enseignants, doctorants, artistes, \u00e9tudiants, journalistes, etc.) et toutes les disciplines.<\/p>\n
Cette proposition, anonymis\u00e9e, doit \u00eatre envoy\u00e9e uniquement par mail au format PDF \u00e0 l\u2019adresse suivante :<\/strong> 2024@colloque.org<\/a>. Elle ne peut d\u00e9passer 500 mots, et il est n\u00e9cessaire qu\u2019elle pr\u00e9cise la probl\u00e9matique de recherche, la m\u00e9thodologie, la bibliographie s\u00e9lective et une courte biographie du d\u00e9posant. Les projets de recherche-cr\u00e9ation sont autoris\u00e9s, de m\u00eame que les propositions strictement th\u00e9oriques.<\/p>\nUne lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\nComit\u00e9 d’organisation<\/h2>\n\nSam Cornu (Avignon Universit\u00e9)<\/li>\nDavid Galli (Avignon Universit\u00e9),<\/li>\nNathalie Mac\u00e9 (Avignon Universit\u00e9)<\/li>\nMarie-Caroline Neuvillers (Avignon Universit\u00e9)<\/li>\nFranck Renucci (Universit\u00e9 de Toulon)<\/li>\nGa\u00ebtan Rivi\u00e8re (Centre National des Arts du Cirque)<\/li>\nLaura Santone (Universit\u00e0 Roma Tre)<\/li>\nPascale Vergely (Universit\u00e9 de Bordeaux<\/li>\n<\/ul>\nComit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Une lecture en double aveugle effectu\u00e9e par notre comit\u00e9 scientifique permettra de retenir, ou non, la proposition.<\/p>\n<\/div>\n
Comit\u00e9 scientifique dirig\u00e9 par David Galli et d\u00e9taill\u00e9 sur https:\/\/www.colloque.org\/<\/a><\/strong><\/p>\n\n\nBibliographie s\u00e9lective<\/h2>\n<\/div>\n<\/div>\n\n\nAroufoune, B. (2023). \u00c0 la racine du r\u00e9cit. \u00c9criture, cr\u00e9ation, communication<\/em>. Paris : L\u2019Harmattan.<\/p>\nBecker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\nBiggin, R. (2017). Immersive Theatre and Audience Experience : Space, Game and Story in the Work of Punchdrunk<\/em>. Palgrave Macmillan.<\/p>\nBoudier, M., D\u00e9chery, C. (2022). Artistes-chercheur\u00b7es, chercheur\u00b7es-artistes. Performer les savoirs<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\nBouquilllion P., Mi\u00e8ge B., M\u0153glin, P. (2015). \u00ab Industries du contenu et industries de la communication. Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Contribution \u00e0 une d\u00e9construction de la notion de cr\u00e9ativit\u00e9 \u00bb, Les Enjeux de l\u2019information et de la communication<\/i>, n\u00b016\/3B, pp. 17-26<\/p>\nChabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. 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Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Becker, H, Peretz, H. (2009). Artistes, \u00e9crivains, chercheurs et repr\u00e9sentations sociales. Paris : La D\u00e9couverte.<\/p>\n
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Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Chabert, G.\u00a0(2017).\u00a0\u00ab L\u2019\u00e9cran au pluriel \u00bb,\u00a0Interfaces num\u00e9riques<\/em>, n\u00b06(2).<\/p>\nChapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. 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(2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Chapple, F., Kattenbel, C. (2006). Intermediality in Theatre and Performance<\/em>. Amsterdam ; New York : Rodopi.<\/p>\nDamasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Damasio, A. (2017). L\u2019Ordre \u00e9trange des choses : La vie, les sentiments et la fabrique de la culture<\/em>. Paris : Odile Jacob.<\/p>\nDanetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. 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Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Danetis, D. (2007). Pratiques artistiques et pratiques de recherche<\/em>. Paris : L\u2019Harmattan.<\/p>\nDixon, S. (2007). Digital Performance. A history of new media in theater, dance, performance art, and installation.<\/em> Cambridge ; Londres : The MIT Press.<\/p>\nEckersall, P., Grehan, H., Scheer, E. (2016). \u00ab New media dramaturgy \u00bb. Dans Romanska, M. (dir.), The Routledge Companion to Dramaturgy<\/em>. Abingdon ; New York : Routledge, pp. 375-380.<\/p>\nF\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. 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Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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F\u00e9ral, J., Perrot, E. (2013). Le r\u00e9el \u00e0 l\u2019\u00e9preuve des technologies. Les arts de la sc\u00e8ne et les arts m\u00e9diatiques<\/em>. Rennes : Presses universitaires de Rennes.<\/p>\nGalli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Galli, D., Galliano, C., Lambert, V. (2024). Tiers lieux culturels : Tome 1. Identite\u0301s en cre\u0301ation<\/em>. Paris : L\u2019Harmattan.<\/p>\nGarson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Garson, C. (2021). \u00ab Putting VR Technology into Documentary. Reflections and Speculations on a New Immersive Theatre Genre in Britain \u00bb, Coup de Th\u00e9\u00e2tre, <\/em>n\u00b0 35, pp. 93-108.<\/p>\nGhoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Ghoul Samson, J., Bonfils, P. (2018). \u00ab L\u2019exp\u00e9rience communicationnelle immersive dans WoW, entre pr\u00e9sence et engagement \u00bb, Interfaces num\u00e9riques<\/em>, vol. 7\/1.<\/p>\nGonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Gonzalez, M., Landau, H. (2022). Le Th\u00e9\u00e2tre \u00e0 l\u2019\u00e8re du num\u00e9rique : Convergences et paradoxes<\/em>. Avignon : \u00c9ditions Universitaires d\u2019Avignon.<\/p>\nGu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Gu\u00e9rin, J. (2007). Le Th\u00e9\u00e2tre en France de 1914 \u00e0 1950<\/em>. Paris : Honor\u00e9 Champion \u00e9diteur, pp. 57-63 (\u00ab Th\u00e9\u00e2tre et cin\u00e9ma \u00bb).<\/p>\nHorkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Horkheimer, M., Adorno, T. W. (1944, 1974). La dialectique de la raison<\/em>. Paris : Gallimard.<\/p>\nIbanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Ibanez Bueno, J., Mar\u00edn, A. (2021). \u00ab Images interactives et nouvelles \u00e9critures. Un mouvement \u00e9mergent pour de nouvelles \u00e9critures interactives \u00bb, Revue fran\u00e7aise des m\u00e9thodes visuelles<\/em>, n\u00b05.<\/p>\nLaurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Laurier, D., Lavoie, N. (2013). \u00ab Le point de vue du chercheur-cr\u00e9ateur sur la question m\u00e9thodologique : une d\u00e9marche allant de l\u2019\u00e9nonciation de ses repr\u00e9sentations \u00e0 sa compr\u00e9hension \u00bb, Recherches qualitatives<\/em>, n\u00b032(2).<\/p>\nLeiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Leiduan, A. (2023). \u00ab L\u2019imaginaire transme\u0301diatique et sa signification politique \u00bb. Dans Roux, U., Gagnebien, A., Leiduan, A. (dirs.), Les Cahiers des Champs Visuels<\/em>, n\u00b025, pp. 15-45.<\/p>\nNeuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Neuvillers, M-C. (2019). \u00a0\u00ab T\u00e9l\u00e9vision et web-s\u00e9ries : \u00ab je t\u2019aime, moi non plus \u00bb ou les enjeux d\u2019une double n\u00e9cessit\u00e9 \u00bb,\u00a0T\u00e9l\u00e9vision<\/em>, n\u00b010, pp. 109-125.<\/p>\nPavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Pavis, P. (2010). La Mise en sc\u00e8ne contemporaine. Origines, tendances, perspectives<\/em>. Paris : Armand Colin, Collection U Lettres (2\u00b0 \u00e9dition), chap. 8 (\u00ab Les m\u00e9dias sur la sc\u00e8ne \u00bb).<\/p>\nPicon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Picon-Vallin, B. (dir.) (1998). Les \u00c9crans sur la sc\u00e8ne. Tentations et r\u00e9sistances de la sc\u00e8ne face aux images<\/em>. Lausanne : \u00c9ditions L\u2019\u00c2ge d\u2019Homme.<\/p>\nPluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Pluta, I. (2011). L\u2019Acteur et l\u2019interm\u00e9dialit\u00e9. Les nouveaux enjeux pour l\u2019interpr\u00e8te et la sc\u00e8ne \u00e0 l\u2019\u00e8re technologique<\/em>. Lausanne : Editions L\u2019Age d\u2019Homme.<\/p>\nPluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Pluta, I. (dir. avec la collaboration de Girot G.) (2017). Metteur en sc\u00e8ne aujourd\u2019hui. Identit\u00e9 artistique en question ?<\/em> Rennes : Presses universitaires de Rennes, collection \u00ab Le Spectaculaire \u00bb, chap. 5 (\u00ab Apprivoiser le dispositif technologique \u00bb).<\/p>\nRenucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Renucci, F., R\u00e9ol, J.-M. (2015). L\u2019Artiste, un chercheur pas comme les autres<\/em>. Herm\u00e8s, la Revue, n\u00b072.<\/p>\nRenucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Renucci, F., Le Blanc, B., Galli, D. (2020). \u00ab Communication et \u00e9tudes de l\u2019IA : m\u00e9moire du futur \u00bb, Interfaces num\u00e9riques<\/em>, vol. 9\/1.<\/p>\nRenucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Renucci, F, Galli, D (2022). \u00ab L\u2019essai, une recherche-cr\u00e9ation pour les sciences de la communication \u00bb, Communication<\/em>, vol. 39\/1.<\/p>\nRivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Rivi\u00e8re, G., Galli, D. (2023). \u00ab Former par la communication : une recherche-cr\u00e9ation vivante \u00bb, Champs culturels<\/em>, n\u00b031, pp. 16-21.<\/p>\nRivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Rivi\u00e8re, G. (2022). \u00ab L\u2019Adieu aux animaux : les usages circassiens du num\u00e9rique face aux disciplines traditionnelles. Le cas des animaux holographiques de l\u2019\u00c9cocirque \u00bb, Circus<\/em> Sciences, <\/em>n\u00b03, pp. 73-84.<\/p>\nRosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Rosenberg, D. (2012). Screendance. Inscribing the Ephemeral Image<\/em>. Oxford : Oxford University Press.<\/p>\nRush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Rush, M. (2005). Les Nouveaux m\u00e9dias dans l\u2019art<\/em>. Paris : Thames & Hudson.<\/p>\nSantone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\nSimondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Santone, L. (2023). Rimediare, performare, intermediare : il corpo sonoro della scrittura. <\/i>Roma TrE-Press.<\/p>\n
Simondon, G. (1958, 2012). Du mode d\u2019existence des objets techniques<\/em>. Paris : Aubier.<\/p>\nStiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Stiegler, B. (2015). La Soci\u00e9t\u00e9 automatique. 1. L\u2019avenir du travail<\/em>. Paris : Fayard.<\/p>\nTalon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Talon-Hugon, C. (2021). L\u2019Artiste en habits de chercheur<\/em>. Paris : Presses universitaires de France.<\/p>\nWiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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Wiener, N. (1952, 2014). Cybern\u00e9tique et soci\u00e9t\u00e9<\/em>. Paris : Points.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArts<\/span><\/a><\/li>\nM\u00e9dias<\/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 28 avril 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9dias et journalisme R\u00e9ponse attendue pour le 27\/05\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Colloque […]<\/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":[350,390],"thematique":[35,34],"sfsic":[],"class_list":["post-31815","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-arts","tag-medias","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-medias-et-journalisme","wp-sticky"],"acf":[],"yoast_head":"\n"M\u00e9dias & Arts" - 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