{"id":458,"date":"2017-06-19T15:09:27","date_gmt":"2017-06-19T13:09:27","guid":{"rendered":"http:\/\/wp.unil.ch\/metis\/?p=458"},"modified":"2018-01-16T09:01:08","modified_gmt":"2018-01-16T08:01:08","slug":"colloque-photographie-et-technologies-de-linformation-16-17-novembre-unil","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/metis\/2017\/06\/colloque-photographie-et-technologies-de-linformation-16-17-novembre-unil\/","title":{"rendered":"Colloque \u00ab Photographie et technologies de l\u2019information \u00bb"},"content":{"rendered":"
\"\"<\/a>
Royden Nixon, \u00ab Developing microfilm \u00bb, Washington, D.C., 1942. Library of Congress<\/figcaption><\/figure>\n

16-17 novembre 2017
\nUniversit\u00e9 de Lausanne<\/strong><\/em><\/p>\n

Programme complet<\/a><\/p>\n

Site de l’\u00e9v\u00e9nement<\/a><\/p>\n

(English version below)<\/em><\/p>\n

Les photographies tendent \u00e0 exister en masse. \u00c9l\u00e9ments moteurs de la consommation de masse, elles ont, d\u00e8s l\u2019invention du m\u00e9dium, amen\u00e9 l\u2019industrie \u00e0 d\u00e9velopper de multiples instruments pour acc\u00e9l\u00e9rer la production, le stockage et la diffusion des images, de la bobine de film \u00e0 la carte m\u00e9moire, des appareils de petit format aux cam\u00e9ras num\u00e9riques, en passant par la chronophotographie, le b\u00e9linographe, l\u2019impression rotative, etc. En parall\u00e8le, nombre de techniques et de standards ont d\u00fb \u00eatre mis au point ou adapt\u00e9s \u00e0 la photographie pour g\u00e9rer, organiser et tirer parti de collections sans cesse croissantes : on peut penser aux catalogues iconographiques, aux registres, aux fichiers, aux syst\u00e8mes de classification de biblioth\u00e8ques, aux banques d\u2019images, aux algorithmes, ou aux divers instruments de juxtaposition d\u2019images comme les planches-contact ou les atlas.<\/p>\n

Dans certains cas, la photographie peut y constituer l\u2019objet m\u00eame de la collection, dans d\u2019autres, elle agit plut\u00f4t comme l\u2019outil permettant de rassembler et de donner acc\u00e8s \u00e0 des mat\u00e9riaux provenant de sources tr\u00e8s diverses, comme c\u2019est le cas avec le microfilm, par exemple. Aujourd\u2019hui, la nouvelle \u00ab indicialit\u00e9 \u00bb de la photographie num\u00e9rique (Andr\u00e9 Gunthert) fournit des outils suppl\u00e9mentaires pour saisir les images et associer des donn\u00e9es \u00e0 elles, et pour offrir ainsi de nouveaux moyens de g\u00e9rer et de donner acc\u00e8s \u00e0 de grandes quantit\u00e9s d\u2019images dans l\u2019espoir de g\u00e9n\u00e9rer de nouveaux savoirs \u00e0 partir d\u2019elles.
\nCe colloque entend r\u00e9unir des contributions qui abordent l\u2019histoire de la photographie avant tout comme l\u2019histoire de la collecte, du traitement et de la production de vastes ensembles de donn\u00e9es visuelles. Que peut-on apprendre d\u2019une approche de la photographie qui ne la r\u00e9duise ni aux seules pratiques artistiques ou amateurs, ni \u00e0 des ensembles limit\u00e9s d\u2019images individuelles, mais l\u2019envisage comme une technologie de l\u2019information ? Que peut-elle apporter aux recherches actuelles men\u00e9es sur les dimensions scientifiques et p\u00e9dagogiques du m\u00e9dium ?<\/p>\n

Parmi les multiples probl\u00e9matiques abord\u00e9es, on pourra en particulier consid\u00e9rer les questions suivantes :
\n\u2022 Quel profit le traitement massif de la photographie a-t-il apport\u00e9 aux savoirs dans les
\nsciences humaines comme dans les sciences dures ?
\n\u2022 Quelles techniques et m\u00e9thodes ont favoris\u00e9 l\u2019accumulation et la circulation des
\nphotographies ?
\n\u2022 Quel impact la quantit\u00e9 a-t-elle eu sur les syst\u00e8mes d\u2019organisation des donn\u00e9es ?
\n\u2022 Quels points communs et diff\u00e9rences existent-ils de ce point de vue entre mat\u00e9rialit\u00e9
\nanalogique et num\u00e9rique, entre les pratiques de la fiche et des bases de donn\u00e9es
\ndigitales ?
\n\u2022 Comment la photographie a-t-elle interagi avec les domaines du son ou des images
\nanim\u00e9es, et que peut-on apprendre de ces autres m\u00e9dias ou d\u2019approches th\u00e9oriques
\nd\u00e9velopp\u00e9es dans ces autres domaines ?
\n\u2022 Quelles sont les limites du traitement des photographies ? Qu\u2019est-ce qui peut y \u00eatre
\nautomatis\u00e9 ou non ? Quelle place doit y \u00eatre accord\u00e9e au facteur humain et \u00e0 la
\nsubjectivit\u00e9 ?
\n\u2022 Comment le num\u00e9rique red\u00e9finit-il le foss\u00e9 existant entre image et texte, foss\u00e9 qui
\nfonde aussi bien les pouvoirs de l\u2019image que son opacit\u00e9 ?
\n\u2022 Comment affronter plus particuli\u00e8rement le probl\u00e8me de devoir d\u00e9velopper des
\nstructures organisationnelles suffisamment stables pour pouvoir accueillir de grandes
\nquantit\u00e9s d\u2019images tout en devant atteindre une masse critique de donn\u00e9es, ou big
\ndata, pour assurer comparabilit\u00e9 et repr\u00e9sentativit\u00e9 ?<\/p>\n

Le colloque est une collaboration entre l’UNIL (Section d\u2019histoire et esth\u00e9tique du cin\u00e9ma, Centre des sciences historiques de la culture,\u00a0Coll\u00e8ge des humanit\u00e9s,), l’EPFL\u00a0et le Programme doctoral en humanit\u00e9s num\u00e9riques, Centre UNIL-EPFL.\u00a0Il est organis\u00e9 par Estelle Blaschke (chercheuse FNS Senior, UNIL\/SHC), Olivier Lugon (Prof. \u00e0 la\u00a0Section d’histoire et esth\u00e9tique du cin\u00e9ma, UNIL)\u00a0et Davide Nerini (doctorant, UNIL\/SHC)\u00a0dans le cadre du projet de recherche FNS \u00ab\u00a0Toute la culture du monde sur pellicule\u00a0: essor et imaginaire du microfilm des ann\u00e9es 1920 aux ann\u00e9es 1950<\/a>\u00a0\u00bb.<\/p>\n

Conference: \u201cPhotography and Information Technology\u201d
\nNovember 16\u201317, 2017
\nUniversit\u00e9 de Lausanne<\/strong><\/p>\n

Photographs tend to exist in masses. They are a driving force of mass consumerism, and ever since the invention of the medium, the industry has produced numerous devices for accelerating the production, storage and diffusion of photographs, including the film roll, the memory card, small format and digital cameras, chronophotography, wire images, and rotary printing. In parallel, techniques and standards for handling, organizing, and making sense of these ever-increasing collections have been developed or adapted to photography, including iconography, registries, card catalogues, library classification systems, data banks, and algorithms as well as arrangements for juxtaposing photographs such as contact sheets and atlases. Sometimes, photographs act as objects that constitute a collection; sometimes, photography instead functions as a mechanism of conveying material of various sources and provides access to it, as is the case with microfilm, for example. Today, the indexicality of digital photography (Andr\u00e9 Gunthert) provides additional tools for penetrating the image and associating data with that image; thus, digital photography offers new ways of managing and accessing great quantities of images and of potentially creating knowledge. For this conference, we seek papers that reflect on the history of photography as a history of collecting, processing, and producing vast data sets. What can be learned from thinking about photography not only as an artistic or amateur practice and not only as (a set of) individual images, but as an information technology? How may that concept add to the present scholarship on the scientific and educational dimensions of photography?<\/p>\n

The questions we seek to consider, among others, are:
\n\u2022 How did processing masses of photographs contribute to the creation of knowledge in the humanities and natural sciences?
\n\u2022 What technologies and methodologies have allowed for the amassing and circulation of photographs?
\n\u2022 What does mass do to an organizational system?
\n\u2022 What similarities or differences exist between analog and digital materiality, and between the practice of the file card and the data set?
\n\u2022 How did photography interact with sound or moving images, and what can be learned from these or other media and their media theories?
\n\u2022 What are the limits of processing photographs? What can be automated, and what cannot? What status is given to the human factor and subjectivity?
\n\u2022 How does the digital respond to the image\u2013text gap, which, on the one hand, is conducive to the power of an image and, on the other hand, contributes to its opacity?
\n\u2022 How does one navigate the difficulty of developing organizational structures that are stable enough to accommodate masses of images and, at the same time, meet the need for a critical mass of images, or big data, to achieve comparability and representativity?<\/p>\n

The conference is organized by Estelle Blaschke, Olivier Lugon and Davide Nerini as part of the SNSF-research project \u201cEncapsulating World Culture: the Rise and the Imaginary of Microfilm (1920s to 1950s)\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

16-17 novembre 2017 Universit\u00e9 de Lausanne Programme complet Site de l’\u00e9v\u00e9nement (English version below) Les photographies tendent \u00e0 exister en masse. \u00c9l\u00e9ments moteurs de la consommation de masse, elles ont, … <\/p>\n","protected":false},"author":1001537,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[24,9,10],"tags":[45,41,44,28,40],"class_list":["post-458","post","type-post","status-publish","format-standard","category-actualites","category-evenements","category-evenements-passes","tag-circulation-des-images","tag-colloque","tag-diffusion-des-images","tag-photographie","tag-technologies-de-linformation"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/458","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/users\/1001537"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/comments?post=458"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/458\/revisions"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/media?parent=458"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/categories?post=458"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/tags?post=458"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}