{"id":111,"date":"2017-12-06T17:21:03","date_gmt":"2017-12-06T16:21:03","guid":{"rendered":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/?p=111"},"modified":"2018-01-26T15:05:15","modified_gmt":"2018-01-26T14:05:15","slug":"colloque-attention-machine","status":"publish","type":"post","link":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/colloque-attention-machine\/","title":{"rendered":"SYMPOSIUM – BEWARE, MACHINE !"},"content":{"rendered":"

ARTISTIC PRACTICE AND MEDIA RECYCLING<\/strong><\/span><\/p>\n

Convened by the Literature and Arts Department of the University Grenoble Alpes.<\/strong>
\n1rst floor \u2014 Auditorium Grenoble INP<\/strong><\/span>
\nWednesday 07<\/span> \/ 01.30 pm > 06.00 pm<\/strong>
\nThursday 08<\/span> \/ 09.00 am > 06.30 pm<\/strong>
\nFriday 09<\/span> \/ 09.00 am > 05.30 pm<\/strong><\/p>\n

\u201cAlways Already New\u201d is the title of a book by Lisa Gitelman published in 2006 by the MIT Press in which she challenges our tendency to unconditionally consider as “new” all advances in technology while each of us knows fully well that all “new” media has its roots in an older one which it improves, enhances and enriches. Over the last decades, the most significant advances in media history and archaeology and the emergence of new approaches to media, such as intermediality, have considerably enriched aesthetic approaches to artistic practices. These have become less and less identifiable, being on the verge of theatre and cinema, video and installation, performance and internet art and questioning traditional boundaries between different media.<\/p>\n

Forms that emerge from these practices belong to what is called by certain people as the “postproduction” era. (N. Bourriaud, Postproduction, Presses du r\u00e9el, 2003), and by others “cultural recycling” (J. Klucinskas et W. Moser, “Esth\u00e9tique et recyclages culturels”. 2004. Ottawa: Presses de l\u2019Universit\u00e9 d\u2019Ottawa \/ Aesthetics and Cultural Recycling). They proclaim that re-using already existing materials, forms or media and diverting them is becoming more and more the distinctive feature of contemporary artistic production. Could we say that our digital era is characterized by media “recycling”, as an artistic act, facilitated by the more and more seamless circulation of cultural and artistic objects, the increasing porosity between art and cultural industry, and by the fact that everyone can access know-how previously reserved for professionals?<\/p>\n

Talks at the Symposium will attempt to clearly define the challenges of these recycling practices, present case studies (Jacques Perconte, Joris Mathieu, operas by G. Barberio Corsetti and P. Sorin, etc.), analyse hybrid practices (machinima, found footage, sampling\u2026) and propose meetings with artists like Gwenola Wagon or Jean-Fran\u00e7ois Peyret. The opening talk will be given by \u00c9ric M\u00e9choulan, professor of literature at University of Montr\u00e9al, Director of the Centre de recherche interm\u00e9diales sur les arts, les lettres et les techniques (CRIalt) until 2013, entitled “Traces, Archives, Recycling”. Herv\u00e9 Aubron, former reviewer at “Cahiers du cin\u00e9ma” and current editor of “Magazine litt\u00e9raire” will invite us to a drift away with Twin Peaks. Finally, Philippe Boisnard, artist will close the symposium by a performance talk.<\/p>\n

The symposium is convened by :\u00a0UMR Litt&Arts<\/a>\u00a0(the Literature and Arts Department) of the\u00a0University Grenoble Alpes<\/a><\/strong><\/p>\n

Organising Committee<\/strong><\/span>
\nGuillaume Bourgois<\/strong>, Litt&Arts, Cinema
\nPierre Jailloux<\/strong>, Litt&Arts, Cinema
\nAlice Lenay<\/strong>, Litt&Arts
\nR\u00e9mi Ronfard<\/strong>, INRIA, Imagine, Computer Science
\nJulie Valero<\/strong>, Litt&Arts, Performing Arts<\/p>\n

Free Admission. Registration is required.
\nContact Julie Ridard<\/strong>: julie.ridard@univ-grenoble-alpes.fr<\/a><\/strong><\/p>\n

DOWNLOAD THE COMPLETE PROGRAMME<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

All “new” media is always born from an older medium, which it improves, increases, enriches …<\/p>\n","protected":false},"author":2,"featured_media":271,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41,56,57,58,6,60],"tags":[],"_links":{"self":[{"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/posts\/111"}],"collection":[{"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/comments?post=111"}],"version-history":[{"count":20,"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/posts\/111\/revisions"}],"predecessor-version":[{"id":2607,"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/posts\/111\/revisions\/2607"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/media\/271"}],"wp:attachment":[{"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/media?parent=111"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/categories?post=111"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hexagonarts.eu\/experimenta-la-biennale-2018\/en\/wp-json\/wp\/v2\/tags?post=111"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}