{"id":31,"date":"2018-06-10T20:40:01","date_gmt":"2018-06-10T19:40:01","guid":{"rendered":"http:\/\/www.rvdv.net\/2008\/?page_id=31"},"modified":"2026-01-07T16:49:41","modified_gmt":"2026-01-07T15:49:41","slug":"1-mercredi-19-novembre-16h-18h-wednesday-the-19th-of-november-4-6-pm","status":"publish","type":"page","link":"http:\/\/www.rvdv.net\/2008\/le-projet-the-project\/1-mercredi-19-novembre-16h-18h-wednesday-the-19th-of-november-4-6-pm\/","title":{"rendered":"1. Mercredi 19 novembre, 16h-18h (Wednesday the 19th of November, 4-6 pm)"},"content":{"rendered":"

Mobilit\u00e9, invention technologique et invention artistique
\nMobility, Technological Invention and Artistic Invention<\/em><\/h2>\n

Autour des recherches de Masaki Fujihata, invit\u00e9 de l\u2019exposition Mobilisable, cette session interroge la relation entre invention technologique et invention artistique.
\nD\u2019Orchisoid<\/em> (2001-2005), tentative savante et humoristique de l\u2019apprentissage de la mobilit\u00e9 procur\u00e9 \u00e0 une plante, \u00e0 Morel\u2019s Panorama<\/em> (2005), panorama miroirique et mouvant o\u00f9 l\u2019on se voit saisi et extrait de soi-m\u00eame, ou \u00e0 Landing Home in Geneva<\/em> (2005), cartographie spatiotemporelle et subjective d\u2019\u00e9changes linguistiques, on d\u00e9couvre comment un projet po\u00e9tique \u00e9merge de l\u2019invention et de l\u2019exp\u00e9rimentation technologiques.
\nOn peut comprendre que pour Masaki Fujihata, alors que le num\u00e9rique est devenu le contexte et les circonstances de toute activit\u00e9, il ne s\u2019agit pas simplement de mettre des nouveaux m\u00e9dias dans l\u2019art, ni m\u00eame de faire un art des nouveaux m\u00e9dias. Il s\u2019agit de faire des nouveaux m\u00e9dias en artiste, d\u2019\u00eatre artiste en nouveaux m\u00e9dias. D\u00e8s lors, s\u2019il ne s\u2019agit pas seulement de renouveler l\u2019art en lui injectant de nouveaux moyens, de nouveaux outils, de nouveaux sujets, il peut s\u2019agir d\u2019en d\u00e9placer les fronti\u00e8res jusqu\u2019\u00e0 consid\u00e9rer des exp\u00e9rimentations, des inventions technologiques, comme des \u00e9v\u00e9nements apparent\u00e9s \u00e0 l\u2019art, comme relevant du projet artistique.<\/p>\n

Focusing on the research of the artist Masaki Fujihata, whose work is shown in the exhibition of Mobilisable, this session questions the relationship between technological and artistic invention.
\n<\/em>From looking at <\/em>Orchisoid (2001-2005)<\/em>, an intellectual and humorous attempt to understand the mobility given to a plant,<\/em> at Morel\u2019s Panorama (2005), a mirrored panorama, which changes and in which the spectator perceives himself captured by and extracted from his own reflection, or at<\/em> Landing Home Geneva (2005), a spatiotemporal cartography and subjective linguistic exchange, we discover how a poetic project can emerge from technological innovation and experimentation.<\/em>
\nAs the digital has invaded the context and circumstance of each and every activity, we see that for Fujihata it is not simply a matter of integrating new media in his art, nor is it making art of new media. For Fujihata it is about creating new media as an artist, to be an artist in new media. Therefore it is not only a question of renewing art by injecting it with new possibilities, new tools, new subjects, but rather of displacing the borders, so that the experimentations and the technological innovations are perceived as relevant to the artistic project and as essential part of the artwork.<\/em><\/p>\n

Masaki Fujihata<\/strong>, artiste et professeur, artist and professor<\/em>, Tokyo University of the Arts<\/p>\n

Pierre-Damien Huyghe<\/strong>, professeur, professor<\/em>, Universit\u00e9 Paris 1 \u2013 Panth\u00e9on \u2013 Sorbonne, \u00ab L\u2019art comme d\u00e9couverte des inventions \u00bb (\u00ab Art as Discovery of Inventions<\/em> \u00bb)<\/p>\n

Session pr\u00e9par\u00e9e et mod\u00e9r\u00e9e par, organized and moderated by<\/em> :
\nJean-Louis Boissier<\/strong>, professeur, professor, Universit\u00e9 Paris 8 et Ensad, directeur de l\u2019\u00e9quipe de recherche, head of the research group, Esth\u00e9tique des nouveaux m\u00e9dias (EdNM).<\/p>\n


\n<\/strong><\/em>Les intervenants,<\/strong> The participants<\/strong> :<\/em><\/p>\n

Masaki Fujihata<\/strong> (Tokyo, 1956) est artiste des m\u00e9dias, professeur et doyen, is a media artist, professor at and head of the Graduate School of Film and New Media<\/em>, Tokyo University of the Arts.<\/p>\n

D\u00e8s le d\u00e9but des ann\u00e9es 80, il cr\u00e9e des images et des sculptures g\u00e9n\u00e9r\u00e9es par ordinateur, Geometric Love<\/em> en 1987, Forbidden Fruits<\/em> en 1990. Au d\u00e9but des ann\u00e9es 90, il aborde le champ des arts interactifs. Son livre interactif Beyond Pages<\/em> est pr\u00e9sent\u00e9 aussi bien au Japon qu\u2019aux \u00c9tats-Unis et en Europe. Cette installation fait partie de la collection permanente du ZKM \u00e0 Karlsruhe, depuis 1997. Sa pi\u00e8ce pour r\u00e9seaux Global Interior Project<\/em> re\u00e7oit le prix Golden Nika \u00e0 Ars Electronical, Linz, Autriche, en 1996. En 1998, son environnement virtuel partag\u00e9 Nuzzle Afar<\/em> est expos\u00e9 en Allemagne, en Hollande, aux Pays-Bas, en Hongrie, au Japon. Apr\u00e8s Impressing Velocity<\/em>,\u00a0 une premi\u00e8re pi\u00e8ce utilisant le croisement de la vid\u00e9o et du GPS en 1992-1994, il entame en 2000 la s\u00e9rie des Field-Works<\/em>. Field-Work@Hayama<\/em> est expos\u00e9e \u00e0 la Triennale de Yokohama, \u00e0 Ars Electronica, Linz, \u00e0 Viper \u00e0\u00a0 B\u00e2le et \u00e0 Transmediale, Berlin en 2001. Field-Works@Lake_Shinji<\/em>, le projet d\u2019une m\u00e9moire collective, est r\u00e9alis\u00e9 en 2002 avec les habitants de Shiname au Japon.\u00a0 Field-Work@Alsace<\/em> est produite en Alsace autour de la fronti\u00e8re entre la France et l\u2019Allemagne. En 2002-2004, cette installation est montr\u00e9e dans l\u2019exposition Future Cinema<\/em> au ZKM, Karlsruhe,\u00a0 \u00e0 Helsinki, \u00e0, ICC Tokyo, \u00e0 Lille, \u00e0 Hong Kong, \u00e0 B\u00e2le, \u00e0 Lisbonne. Landing Home in Geneva<\/em> est produite en 2005 \u00e0 l\u2019occasion d\u2019une r\u00e9sidence \u00e0 la Haute \u00e9cole d\u2019art et de design de Gen\u00e8ve. L\u2019installation Morel\u2019s Panorama<\/em>, inspir\u00e9e du roman L\u2019Invention de Morel<\/em> de Bioy Casares est produite en 2004 pour le Yamaguchi Center for Arts and Media au Japon. En 2005, Unreflective Mirror<\/em> est une installation qui interroge elle aussi la relation du spectateur \u00e0 son image.
\nDepuis 2001, associ\u00e9 au biologiste Yuji Dogane, Masaki Fujihata a entrepris une s\u00e9rie d\u2019\u0153uvres exp\u00e9rimentales portant sur la communication des plantes, dont Orchisoid<\/em> en 2001 et Training<\/em> en 2007.
\n
\nStarting from the early 80s, he is interested in computer generated images and sculptures and creates<\/em> Geometric Love in 1987 and <\/em>Forbidden Fruits in 1990. In the early 90s, he starts to work in the field of interactive art. His interactive<\/em> book <\/em>Beyond Pages can be found in Japan, as well as in the United States and in Europe. Since 1997, this installation is part of the permanent collection of the ZKM in Karlsruhe\/Germany. His network piece <\/em>Global Interior Project was rewarded with a Golden Nika at Ars Electronical in Linz\/Austria in 1996. In 1998, his shared virtual environment <\/em>Nuzzle Afar was shown in Germany, in the Netherlands, in Hungary and in Japan. After having associated video and GPS for the first time in 1992-1994 in<\/em> Impressing Velocity, he concentrates himself more intensely on this technology in 2000 in his series <\/em>Field-Works. Field-Work@Hayama was shown in the Triennale of Yokohama, at Ars Electronica in Linz, in Viper, in B\u00e2le and at the Transmediale in Berlin in 2001. Field-Works@Lake_Shinji<\/em>, a project on collective memory, is created in 2002 with the inhabitants of Shiname in Japan.\u00a0 Field-Work@Alsace<\/em> is produced in the Alsace around the border between France and Germany. Between 2002-2004, this installation is part of the exhibition<\/em> Future Cinema at the ZKM Karlsruhe and it is shown in Helsinki, at the ICC in Tokyo, in Lille, in Hong Kong, in B\u00e2le and in Lisbon.<\/em> During a residency in the Geneva Art School in 2005, Fujihata creates<\/em>Landing Home in Geneva. The installation<\/em>Morel\u2019s Panorama, inspired by the novel<\/em>The Invention of Morel by Bioy Casares was produced in 2004 for the Yamaguchi Center for Arts and Media in Japan. With<\/em>Unreflective Mirror (2005) Fujihata once more questions the relationship between the spectator and his image<\/em>.
\nSince 2001 and in association with the biologist Yuji Dogane, Masaki Fujihata has created a number of experimental works, as <\/em>Orchisoid (2001) and Training (2007), \u2028which question the communication of plants.<\/em>
\n<\/a>http:\/\/www.fujihata.jp<\/a><\/p>\n


\nPierre-Damien Huyghe<\/strong> est philosophe, professeur, is a philosopher and professor<\/em>, Universit\u00e9 Paris 1 \u2013 Panth\u00e9on \u2013 Sorbonne, responsable du, head of the section of Master recherche Design et environnements<\/em>. Il a publi\u00e9, he has published <\/em>: Le devenir peinture<\/em>, L\u2019Harmattan-Esth\u00e9tiques, 1996; Le jeu de l\u2019exposition<\/em>, co-dir. Avec J.-L. D\u00e9otte, L\u2019Harmattan-Esth\u00e9tiques, 1998; Art et industrie (philosophie du Bauhaus)<\/em>, \u00e9d. Circ\u00e9, 1999; Du commun (philosophie pour la peinture et le cin\u00e9ma)<\/em>, \u00e9d. Circ\u00e9, 2001; Le diff\u00e9rend esth\u00e9tique<\/em>, \u00e9d. Circ\u00e9, 2004; L\u2019art au temps des appareils<\/em>, dir., L\u2019Harmattan-Esth\u00e9tiques, 2005; \u00c9loge de l\u2019aspect <\/em>(\u00e9l\u00e9ments d\u2019analyse critique et paradoxale de l\u2019industrie comme divertissement), \u00e9ditions MIX, 2006.<\/p>\n


\nL’enregistrement vid\u00e9o des deux communications
\n<\/strong>
\nPierre-Damien Huyghe , P.-D.Huyghe-summarization<\/a><\/p>\n

 <\/p>\n

Masaki Fujihata \u00abMobility, Technological Invention and Artistic Invention\u00bb<\/em>, 1\/2<\/p>\n

Masaki Fujihata, \u00abMobility, Technological Invention and Artistic Invention\u00bb<\/em>, 2\/2<\/p>\n","protected":false},"excerpt":{"rendered":"

Mobilit\u00e9, invention technologique et invention artistique Mobility, Technological Invention and Artistic Invention Autour des recherches de Masaki Fujihata, invit\u00e9 de l\u2019exposition Mobilisable, cette session interroge la relation entre invention technologique et invention artistique. D\u2019Orchisoid (2001-2005), tentative savante et humoristique de l\u2019apprentissage de la mobilit\u00e9 procur\u00e9 \u00e0 une plante, \u00e0 Morel\u2019s Panorama (2005), panorama miroirique et … Continuer la lecture de 1. Mercredi 19 novembre, 16h-18h (Wednesday the 19th of November, 4-6 pm)<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":24,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-31","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/pages\/31","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/comments?post=31"}],"version-history":[{"count":4,"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/pages\/31\/revisions"}],"predecessor-version":[{"id":116,"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/pages\/31\/revisions\/116"}],"up":[{"embeddable":true,"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/pages\/24"}],"wp:attachment":[{"href":"http:\/\/www.rvdv.net\/2008\/wp-json\/wp\/v2\/media?parent=31"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}