{"id":981,"date":"2017-02-01T22:01:41","date_gmt":"2017-02-01T22:01:41","guid":{"rendered":"https:\/\/archee.uqam.ca\/?p=981"},"modified":"2022-11-04T22:01:58","modified_gmt":"2022-11-04T22:01:58","slug":"fevrier-2017-lignes-introductives","status":"publish","type":"post","link":"https:\/\/archee.uqam.ca\/fevrier-2017-lignes-introductives\/","title":{"rendered":"F\u00e9vrier 2017 &#8211; Lignes introductives"},"content":{"rendered":"\n<p>Comme nous l\u2019avons d\u00e9montr\u00e9 \u00e0 plusieurs reprises la recherche-cr\u00e9ation en art est au centre des int\u00e9r\u00eats d\u2019<em>Arch\u00e9e<\/em>. Le pr\u00e9sent dossier, qui fait suite au num\u00e9ro de novembre 2016, poursuit les analyses autour de l\u2019\u0153uvre\u00a0<em>G\u00e9nerativity<\/em>\u00a0d&rsquo;Isabelle Choini\u00e8re\u00a0et de\u00a0Fernanda D\u2019Agostino\u00a0en donnant la parole aux artistes, aux th\u00e9oriciens, aux performeuses impliqu\u00e9es dans le processus et \u00e0 la conservatrice du\u00a0Suyama Space\u00a0de Seattle qui a permis ce travail de recherche exp\u00e9rimental.<\/p>\n\n\n\n<p>Ainsi Le\u00efla Cassar et M\u00e9lissa Bertrand proposent des analyses th\u00e9oriques de la performance\u00a0<em>Phase 5<\/em>\u00a0con\u00e7ue par Isabelle Choini\u00e8re et interrogent le\u00a0<em>Suyama Space.\u00a0<\/em>Par ailleurs, Isabelle Choini\u00e8re et\u00a0Enrico Pitozzi\u00a0s\u2019entretiennent avec les performeuses et Fernanda d\u2019Agostino nous r\u00e9v\u00e8le sa d\u00e9marche dans l\u2019\u00e9laboration de l\u2019installation.<\/p>\n\n\n\n<p>Le texte de\u00a0Marcin Sobieszczanski, dont la deuxi\u00e8me partie sera publi\u00e9e dans le prochain num\u00e9ro, permet de revisiter \u00e0 la lueur des sciences cognitives les ph\u00e9nom\u00e8nes esth\u00e9tiques \u00e0 l\u2019\u0153uvre dans les productions artistiques actuelles.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Comme nous l\u2019avons d\u00e9montr\u00e9 \u00e0 plusieurs reprises la recherche-cr\u00e9ation en art est au centre des int\u00e9r\u00eats d\u2019Arch\u00e9e. Le pr\u00e9sent dossier, qui fait suite au num\u00e9ro de novembre 2016, poursuit les analyses autour de l\u2019\u0153uvre\u00a0G\u00e9nerativity\u00a0d&rsquo;Isabelle Choini\u00e8re\u00a0et de\u00a0Fernanda D\u2019Agostino\u00a0en donnant la parole aux artistes, aux th\u00e9oriciens, aux performeuses impliqu\u00e9es dans le processus et \u00e0 la conservatrice du\u00a0Suyama &hellip; <a href=\"https:\/\/archee.uqam.ca\/fevrier-2017-lignes-introductives\/\">Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/981"}],"collection":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/comments?post=981"}],"version-history":[{"count":2,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/981\/revisions"}],"predecessor-version":[{"id":983,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/981\/revisions\/983"}],"wp:attachment":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/media?parent=981"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/categories?post=981"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/tags?post=981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}