{"id":4410,"date":"2024-02-13T12:25:43","date_gmt":"2024-02-13T12:25:43","guid":{"rendered":"https:\/\/soundimageculture.org\/focus-program\/"},"modified":"2026-03-16T12:52:19","modified_gmt":"2026-03-16T12:52:19","slug":"focus-program","status":"publish","type":"page","link":"https:\/\/soundimageculture.org\/fr\/focus-program\/","title":{"rendered":"Focus"},"content":{"rendered":"\n
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SoundImageCulture (SIC) <\/span>est <\/span>un <\/span>collectif <\/span>de <\/span>cin\u00e9astes <\/span>qui <\/span>fonctionne <\/span>comme <\/span>un <\/span>laboratoire <\/span>de <\/span>pens\u00e9e <\/span>cr\u00e9ative. <\/span>Engag\u00e9 <\/span>dans <\/span>une <\/span>r\u00e9flexion <\/span>\u00e9thique, <\/span>interculturelle <\/span>et <\/span>bicommunautaire, <\/span>SIC <\/span>reste <\/span>attentif <\/span>aux <\/span>nouvelles <\/span>approches <\/span>critiques <\/span>et <\/span>aux <\/span>\u00e9volutions <\/span>artistiques. <\/span>Nous <\/span>interrogeons <\/span>les <\/span>langages, <\/span>leurs <\/span>modes <\/span>de <\/span>repr\u00e9sentation <\/span>et <\/span>les <\/span>dynamiques <\/span>de <\/span>pouvoir <\/span>qu\u2019ils <\/span>produisent.<\/span><\/p>\n

Anim\u00e9 <\/span>par <\/span>le <\/span>d\u00e9sir <\/span>d\u2019ouvrir <\/span>ces <\/span>espaces <\/span>de <\/span>r\u00e9flexion \u2014 <\/span>habituellement <\/span>partag\u00e9s <\/span>entre <\/span>artistes <\/span>et <\/span>chercheurs \u2014 <\/span>\u00e0 <\/span>un <\/span>public <\/span>plus <\/span>large, <\/span>SoundImageCulture <\/span>organise <\/span>tous <\/span>les <\/span>deux <\/span>ans <\/span>un <\/span>symposium <\/span>intitul\u00e9 <\/span>Focus<\/span><\/em>.<\/span><\/p>\n

\u00c0 <\/span>travers <\/span>ces <\/span>rencontres, <\/span>nous <\/span>cherchons <\/span>\u00e0 <\/span>ouvrir <\/span>de <\/span>nouveaux <\/span>d\u00e9bats, <\/span>\u00e0 <\/span>accueillir <\/span>d\u2019autres <\/span>questions <\/span>et <\/span>\u00e0 <\/span>tisser <\/span>des <\/span>liens <\/span>qui <\/span>permettent <\/span>d\u2019\u00e9largir <\/span>les <\/span>perspectives <\/span>et <\/span>de <\/span>nourrir <\/span>une <\/span>compr\u00e9hension <\/span>commune.<\/span><\/p>\n

En 2020, <\/span>nous <\/span>avons <\/span>ainsi <\/span>pr\u00e9sent\u00e9 <\/span>Aesthetics <\/span>of <\/span>the <\/span>Political<\/span><\/em>, <\/span>un <\/span>symposium <\/span>en <\/span>deux <\/span>volets <\/span>consacr\u00e9 <\/span>\u00e0 <\/span>la <\/span>mani\u00e8re <\/span>dont <\/span>la <\/span>pens\u00e9e <\/span>politique <\/span>critique <\/span>peut <\/span>s\u2019incarner <\/span>dans <\/span>les <\/span>images, <\/span>les <\/span>sons <\/span>et <\/span>la <\/span>nourriture.<\/span><\/p>\n

– Premi\u00e8re partie Dinner of Disappearance<\/a><\/em>
\n– Deuxi\u00e8me partie Critical Images<\/a><\/em><\/p>\n

En 2022, <\/span>Boundary <\/span>Encounters<\/span><\/em><\/a> prenait <\/span>la <\/span>forme <\/span>d\u2019un <\/span>symposium <\/span>consacr\u00e9 <\/span>\u00e0 <\/span>l\u2019hybridation <\/span>dans <\/span>le <\/span>cin\u00e9ma, <\/span>explorant <\/span>l\u2019usage <\/span>de <\/span>strat\u00e9gies <\/span>fictionnelles <\/span>dans <\/span>des <\/span>films <\/span>ancr\u00e9s <\/span>dans <\/span>le <\/span>r\u00e9el.<\/span><\/p>\n

En 2024, <\/span>le <\/span>symposium <\/span>Plong\u00e9es <\/span>Num\u00e9riques<\/span><\/em><\/a> s\u2019int\u00e9ressait <\/span>aux <\/span>nouveaux <\/span>m\u00e9dias <\/span>et <\/span>\u00e0 <\/span>leur <\/span>action \u2014 <\/span>visible <\/span>comme <\/span>invisible \u2014 <\/span>dans <\/span>la <\/span>transformation <\/span>et <\/span>l\u2019avenir <\/span>de <\/span>nos <\/span>soci\u00e9t\u00e9s.<\/span><\/p>\n

En 2026, <\/span>le <\/span>Focus <\/span>Language, <\/span>Place <\/span>and <\/span>the <\/span>Politics <\/span>of <\/span>Presence<\/span><\/em><\/a> explorait <\/span>le <\/span>cin\u00e9ma <\/span>comme <\/span>forme <\/span>d\u2019expression <\/span>environnementale, <\/span>en <\/span>examinant <\/span>comment <\/span>le <\/span>film \u2014 <\/span>contrairement <\/span>au <\/span>langage \u2014 <\/span>absorbe <\/span>et <\/span>recompose <\/span>un <\/span>monde <\/span>multisensoriel <\/span>tout <\/span>en <\/span>r\u00e9v\u00e9lant <\/span>les <\/span>relations <\/span>complexes <\/span>entre <\/span>le <\/span>corps <\/span>humain, <\/span>la <\/span>technologie <\/span>et <\/span>les <\/span>environnements <\/span>post-<\/span>industriels.<\/span><\/p>\n<\/div><\/section>\n\n

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2026 Focus: Language, Place and the Politics of Presence<\/h1>\n\n\n

Ce <\/span>programme <\/span>s\u2019appuie <\/span>sur <\/span>l\u2019id\u00e9e <\/span>du <\/span>film <\/span>comme <\/span>forme <\/span>de <\/span>langage, <\/span>tout <\/span>en <\/span>reconnaissant <\/span>que <\/span>le <\/span>cin\u00e9ma <\/span>ne <\/span>peut <\/span>fonctionner <\/span>comme <\/span>un <\/span>syst\u00e8me <\/span>linguistique <\/span>conventionnel. <\/span>Contrairement <\/span>\u00e0 <\/span>la <\/span>langue, <\/span>qui <\/span>peut <\/span>\u00eatre <\/span>d\u00e9compos\u00e9e <\/span>en <\/span>unit\u00e9s <\/span>distinctes <\/span>telles <\/span>que <\/span>les <\/span>mots <\/span>ou <\/span>les <\/span>lettres, <\/span>le <\/span>film <\/span>demeure <\/span>indissociable <\/span>de <\/span>la <\/span>complexit\u00e9 <\/span>du <\/span>r\u00e9el. <\/span>Il <\/span>capte <\/span>et <\/span>recompose <\/span>un <\/span>environnement <\/span>multisensoriel \u2014 <\/span>linguistique, <\/span>corporel, <\/span>technologique <\/span>et <\/span>\u00e9cologique \u2014 <\/span>faisant <\/span>du <\/span>cin\u00e9ma <\/span>un <\/span>m\u00e9dium <\/span>qui <\/span>\u00e9chappe <\/span>aux <\/span>cat\u00e9gorisations <\/span>trop <\/span>nettes. <\/span>Ainsi, <\/span>le <\/span>rapport <\/span>du <\/span>cin\u00e9ma <\/span>au <\/span>langage <\/span>n\u2019est <\/span>pas <\/span>seulement <\/span>une <\/span>question <\/span>th\u00e9orique : <\/span>il <\/span>influence <\/span>la <\/span>mani\u00e8re <\/span>dont <\/span>nous <\/span>comprenons <\/span>ses <\/span>dimensions <\/span>sociales, <\/span>environnementales <\/span>et <\/span>politiques.<\/span><\/p>\n

S\u2019inspirant <\/span>du <\/span>livre <\/span>de <\/span>David <\/span>Abram <\/span>The <\/span>Spell <\/span>of <\/span>the <\/span>Sensuous<\/span><\/em> (1996), <\/span>qui <\/span>avance <\/span>que <\/span>le <\/span>langage <\/span>permet <\/span>\u00e0 <\/span>l\u2019environnement <\/span>de <\/span>s\u2019exprimer <\/span>\u00e0 <\/span>travers <\/span>le <\/span>corps <\/span>humain <\/span>plut\u00f4t <\/span>que <\/span>de <\/span>s\u00e9parer <\/span>l\u2019humain <\/span>de <\/span>la <\/span>nature, <\/span>ce <\/span>focus <\/span>envisage <\/span>le <\/span>cin\u00e9ma <\/span>comme <\/span>un <\/span>outil <\/span>d\u2019expression <\/span>environnementale. <\/span>\u00c0 <\/span>travers <\/span>des <\/span>\u0153uvres <\/span>contemporaines <\/span>et <\/span>historiques, <\/span>il <\/span>explore <\/span>la <\/span>mani\u00e8re <\/span>dont <\/span>le <\/span>film <\/span>m\u00e9die <\/span>la <\/span>relation <\/span>entre <\/span>le <\/span>corps <\/span>et <\/span>son <\/span>environnement. <\/span>Il <\/span>rappelle <\/span>\u00e9galement <\/span>que <\/span>le <\/span>cin\u00e9ma <\/span>est <\/span>n\u00e9 <\/span>au <\/span>c\u0153ur <\/span>de <\/span>la <\/span>modernit\u00e9 <\/span>industrielle <\/span>et <\/span>qu\u2019il <\/span>continue <\/span>de <\/span>rendre <\/span>compte <\/span>des <\/span>exp\u00e9riences <\/span>post-<\/span>industrielles <\/span>du <\/span>lieu, <\/span>o\u00f9 <\/span>le <\/span>r\u00e9el <\/span>se <\/span>trouve <\/span>sans <\/span>cesse <\/span>fa\u00e7onn\u00e9 <\/span>par <\/span>des <\/span>processus <\/span>de <\/span>rupture, <\/span>de <\/span>dissociation <\/span>et <\/span>de <\/span>transformation.<\/span><\/p>\n

Jeudi 26 & vendredi 27 f\u00e9vrier 2026 | 10:00 – 18:00 au Pianofabriek (Bruxelles)<\/p>\n

Plus <\/em>d’informations<\/em><\/a><\/p>\n<\/div><\/section>\n\n

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2024 Focus: Plong\u00e9es Num\u00e9riques<\/a><\/h1>\n\n\n

N\u00e9e en 2020 sous la forme d’une th\u00e9orie du complot selon laquelle les interactions en ligne \u00e9taient principalement le fait de bots et pour des bots, et que l’internet \u00e9tait pratiquement d\u00e9pourvu de toute pr\u00e9sence humaine r\u00e9elle, la \u00ab th\u00e9orie de l’internet mort \u00bb a connu un regain d’int\u00e9r\u00eat dans le sillage de l’IA g\u00e9n\u00e9rative. \u00c0 tel point que certains experts vont jusqu’\u00e0 pr\u00e9dire que d’ici 2026, la moiti\u00e9 du contenu mis en ligne sera effectivement g\u00e9n\u00e9r\u00e9 automatiquement par des agents non humains. La plupart des images publi\u00e9es en ligne seront bient\u00f4t cr\u00e9\u00e9es par des algorithmes ciblant d’autres algorithmes.<\/p>\n

Ce programme, organis\u00e9 par l’artiste et cin\u00e9aste Nicolas Gourault, vise \u00e0 \u00e9tudier la politique et la po\u00e9tique des images g\u00e9n\u00e9r\u00e9es par ordinateur dans le cadre de la r\u00e9alisation de films documentaires. Il explorera certaines strat\u00e9gies par lesquelles les cin\u00e9astes font face \u00e0 cette mer croissante de bruit num\u00e9rique qui pourrait bient\u00f4t devenir le monde dans lequel nous vivons. Le premier programme se concentrera sur la dynamique sociale et les luttes impliqu\u00e9es dans la production de preuves dans un monde satur\u00e9 par les algorithmes d’engagement des m\u00e9dias sociaux et le contenu g\u00e9n\u00e9ratif. Le second programme se penchera sur l’imaginaire visuel du contr\u00f4le et de la fluidit\u00e9 int\u00e9gr\u00e9 dans la simulation informatique et pr\u00e9sentera quelques tentatives de pirater ou de briser ce discours h\u00e9g\u00e9monique qui tente de fa\u00e7onner la fa\u00e7on dont nous envisageons l’avenir.<\/p>\n

Samedi 23 novembre 2024 | 17:00 & 20:00 \u00e0 Projection Room (Bruxelles)<\/p>\n

Plus d’informations<\/em><\/a><\/p>\n<\/div><\/section>\n\n

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2022 Focus: Boundary Encounters<\/a><\/h1>\n\n\n

\u00ab\u00a0Il existe un mouvement constitutif de la fiction moderne, qui d\u00e9place son centre de gravit\u00e9 depuis son coeur traditionnel, constitu\u00e9 par les noeuds des \u00e9v\u00e9nements narratifs, vers ces bords o\u00f9 la fiction se trouve \u00e0 sa possible annulation \u2026des bords o\u00f9 la fiction accueille le monde des \u00eatres et des situations qui existaient auparavant \u00e0 ses marges: les \u00e9v\u00e9nements insignifiants entre ce qui arrive et ce qui simplement passe.<\/p>\n

Ce sont aussi les fronti\u00e8res incertaines entre ce qui est r\u00e9el et ce que l\u2019on invente. Ce sont enfin les bords o\u00f9 le r\u00e9cit qui entend documenter le r\u00e9el, s\u2019approprie des formes de la fiction d\u00e9clar\u00e9e.\u00a0\u00bb<\/p>\n

Jacques Ranci\u00e8re \u2013 Les bords de la fiction.<\/p>\n

Plus d’informations sur le Focus:\u00a0Boundary Encounters<\/a><\/em><\/p>\n<\/div><\/section>\n\n

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2020 Focus:  Aesthethics of the Political \u2014
Dinner of Disappearance<\/a> \/ Critical Images<\/a><\/h1>\n\n\n

\u00ab\u00a0La politique porte sur ce qu\u2019on voit et ce qu\u2019on peut en dire, sur qui a la comp\u00e9tence pour voir et la qualit\u00e9 pour dire, sur les propri\u00e9t\u00e9s des espaces et les possibilit\u00e9s du temps.<\/p>\n

C\u2019est \u00e0 partir de ceci qu\u2019on peut poser la question des pratiques esth\u00e9tiques, au sens ou nous l\u2019entendons, c\u2019est-\u00e0 dire des formes de visibilit\u00e9 des pratiques de l\u2019art, du lieu qu\u2019elles occupent, de ce qu\u2019elles font au regard du commun.\u00a0\u00bb\u00a0\u00a0<\/span>\u2013\u00a0\u00a0<\/span>Jacques Ranci\u00e8re<\/p>\n

Pour plus d’informations sur le Focus :<\/p>\n