{"id":1829,"date":"2013-05-10T11:09:28","date_gmt":"2013-05-10T10:09:28","guid":{"rendered":"http:\/\/www.mrexhibition.net\/wp_mimi\/?p=1829"},"modified":"2013-10-20T21:16:40","modified_gmt":"2013-10-20T20:16:40","slug":"conference-de-hiroshi-yoshioka-%e5%90%89%e5%b2%a1%e6%b4%8b-%e8%ac%9b%e6%bc%94%e4%bc%9a-ensad-paris","status":"publish","type":"post","link":"http:\/\/www.mrexhibition.net\/wp_mimi\/?p=1829","title":{"rendered":"Conf\u00e9rence de Hiroshi YOSHIOKA \/ \u5409\u5ca1\u6d0b \u8b1b\u6f14\u4f1a @Ensad, Paris"},"content":{"rendered":"

Conf\u00e9rence (en anglais) par Hiroshi YOSHIOKA<\/strong><\/p>\n

EnsadLab\/EMeRI, en coop\u00e9ration avec l\u2019Universit\u00e9 Paris 8 \u2014 Cycle \u00ab\u00a0Le Japon des nouveaux m\u00e9dias \u00bb<\/b><\/div>\n
Mercredi 29 mai 2013, 18h30, amphi Rodin, EnsAD, 31 rue d\u2019Ulm, Paris 5e (site d’Ensad<\/a>, plan ici<\/a>)<\/b><\/div>\n
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*Entr\u00e9e libre, sans r\u00e9servation! Vous \u00eates tous les bienvenus !!!<\/p>\n

2013\u5e745\u670829\u65e5\u3001\u30d1\u30ea\u306e\u30a8\u30f3\u30b5\u30c3\u30c9(Ensad)\u306b\u304a\u3044\u3066\u3001\u30a8\u30f3\u30b5\u30c3\u30c9\u2022\u30d1\u30ea\u7b2c\uff18\u5927\u5b66\u4e3b\u50ac\u3001\u30b8\u30e3\u30f3\uff1d\u30eb\u30a4\u2022\u30dc\u30ef\u30b7\u30a8\u306e\u7d39\u4ecb\u306b\u3088\u308b\u5409\u5ca1\u6d0b\u8b1b\u6f14\u4f1a\u3092\u884c\u3044\u307e\u3059\u3002\u5165\u5834\u81ea\u7531\u300118\u664230\u5206\u958b\u59cb\u3001\u662f\u975e\u304a\u8d8a\u3057\u4e0b\u3055\u3044\u3002\u8b1b\u6f14\u306f\u82f1\u8a9e\u3001\u30c7\u30a3\u30b9\u30ab\u30c3\u30b7\u30e7\u30f3\u306f\u82f1\u8a9e\u3001\u30d5\u30e9\u30f3\u30b9\u8a9e\u3001\u65e5\u672c\u8a9e(\u306a\u3069)\u53ef\u3067\u3059\u3002\u3054\u8cea\u554f\u306a\u3069\u3054\u3056\u3044\u307e\u3057\u305f\u3089\u3053\u306e\u30d6\u30ed\u30b0\u3092\u901a\u3058\u3066\u3054\u9023\u7d61\u304f\u3060\u3055\u3044\u3002<\/div>\n
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\"pubconfe\"<\/a><\/p>\n

When Interaction Reaches the Critical Point<\/b><\/div>\n
The development of media technology normally parallels with the sophistication of the artificial world. In my thought, however, the most potentially significant impact of media technology on our worldview is that it radically refreshes our understanding of \u00ab\u00a0nature,\u00a0\u00bb \u00a0by blurring a conventional borderline which seems to have been sharply drawn between the natural and the artificial. The use of the computer in the science of complex systems, for example, does not aim at creating the exact simulation of a natural phenomenon, but it means to lead us to a deeper understanding of nature by revealing limitations of the numerical simulation. The important thing is not to overcome limitations but to focus on an interaction between nature and our intelligence. This is also the case with artistic attempts employing media technology. What we usually call \u00ab\u00a0interactivity\u00a0\u00bb actually means an accelerated (or \u00ab\u00a0real-time\u00a0\u00bb) chain of actions and reactions, which specifically cannot be distinguished from traditional understanding of \u00ab\u00a0(re)action.\u00a0\u00bb How, then, can we describe what we should call truly \u00ab\u00a0interactive,\u00a0\u00bb a framework to understand a human activity merged with media technology? \u00a0In my presentation, I will try to describe such a conceptual framework in the context of contemporary Japanese society and culture after the Great Tohoku Earthquake and the Fukushima Nuclear Disaster.<\/div>\n

 <\/p>\n

Quand l\u2019interaction atteint un point critique<\/b><\/div>\n
Le d\u00e9veloppement de la technologie des m\u00e9dias est vu comme parall\u00e8le \u00e0 la sophistication du monde artificiel. Selon moi, cependant, l\u2019impact potentiellement le plus significatif de la technologie des m\u00e9dias sur notre vision du monde est qu\u2019il renouvelle radicalement notre compr\u00e9hension de la notion de \u00ab\u00a0nature\u00a0\u00bb en brouillant la limite conventionnelle qui semble nettement trac\u00e9e entre naturel et artificiel.\u00a0L\u2019usage de l\u2019ordinateur, notamment dans les sciences des syst\u00e8mes complexes, ne vise pas \u00e0 cr\u00e9er la simulation exacte des ph\u00e9nom\u00e8nes naturels, mais nous conduit \u00e0 une compr\u00e9hension plus profonde de la nature en r\u00e9v\u00e9lant des limites de la simulation num\u00e9rique. La chose importante n\u2019est pas de surmonter ces limitations mais de se concentrer sur une interaction entre la nature et notre intelligence. C\u2019est aussi le cas des tentatives artistiques qui emploient les technologies des m\u00e9dias. Ce que l\u2019on nomme ordinairement \u00ab\u00a0interactivit\u00e9\u00a0\u00bb signifie une cha\u00eene acc\u00e9l\u00e9r\u00e9e (ou \u00ab\u00a0en temps r\u00e9el\u00a0\u00bb) d\u2019actions et de r\u00e9actions, qui ne peut pas \u00eatre sp\u00e9cifiquement distingu\u00e9e de la compr\u00e9hension traditionnelle d\u2019une (r\u00e9)action. Comment, dans ces conditions, d\u00e9crire ce que nous pourrions v\u00e9ritablement nommer \u00ab interactif \u00bb ? Un cadre pour comprendre les activit\u00e9s humaines confondues avec la technologie des m\u00e9dias ? Il s\u2019agit alors de tenter de d\u00e9crire un tel cadre conceptuel dans le contexte contemporain de la soci\u00e9t\u00e9 et de la culture japonaises, apr\u00e8s le grand s\u00e9isme du T\u00f4hoku et le d\u00e9sastre nucl\u00e9aire de Fukushima.<\/div>\n

 <\/p>\n

<\/div>\n

\"pastedGraphic\"<\/a>Hiroshi Yoshioka<\/b><\/p>\n

\n

Born in Kyoto in 1956. Professor of Aesthetics and Art Theory at the Graduate School of Letters, Kyoto University. \u00a0He is the president of Japanese Association of Semiotic Studies. \u00a0His books(Japanese)\u00a0include\u00a0The Present Tense of Thought: Complex Systems, Cyberspace, and Affordance Theory<\/i>, Kodansha, 1997 and\u00a0Information and Life: The Brain, Computers, and the Universe<\/i>, with Hisashi Muroi, Shinyosha, 1993.\u00a0 As well as being involved in the planning of exhibitions, such as Kyoto Biennale 2003 and Ogaki Biennale 2006, he has served as ICOMAG (The International Convention on Manga, Animation, Game and Media Art) Chair for three consecutive years.<\/p>\n

Hiroshi Yoshioka
\n<\/b>N\u00e9 \u00e0 Kyoto en 1956. Professeur d\u2019esth\u00e9tique et de th\u00e9orie de l\u2019art \u00e0 l\u2019\u00c9cole doctorale de la Facult\u00e9 des lettres de l\u2019Universit\u00e9 de Kyoto. Il est pr\u00e9sident de l\u2019Association japonaise d\u2019\u00c9tudes s\u00e9miotiques. Ses ouvrages (en japonais) incluent :\u00a0Le Temps pr\u00e9sent de la pens\u00e9e : Syst\u00e8me complexe, cyberespace, et affordance<\/i>, Kodansha, 1997 et\u00a0L\u2019Information et la vie : Cerveau, computers et univers<\/i>\u00a0avec Hisashi Muroi, Shinyosha, 1993. Il s\u2019est occup\u00e9 de divers projets d\u2019expositions, comme la Biennale de Kyoto en 2003 et la Biennale d\u2019Ogaki en 2006. Il a pr\u00e9sid\u00e9 trois ann\u00e9es cons\u00e9cutives l\u2019ICOMAG (Convention Internationale des mangas, animations, jeux et arts des m\u00e9dias) \u00e0 Tokyo.<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Conf\u00e9rence (en anglais) par Hiroshi YOSHIOKA EnsadLab\/EMeRI, en coop\u00e9ration avec l\u2019Universit\u00e9 Paris 8 \u2014 Cycle \u00ab\u00a0Le Japon des nouveaux m\u00e9dias \u00bb Mercredi 29 mai 2013, 18h30, amphi Rodin, EnsAD, 31 rue d\u2019Ulm, Paris 5e (site d’Ensad, plan ici) *Entr\u00e9e libre, sans r\u00e9servation! Vous \u00eates tous les bienvenus !!! 2013\u5e745\u670829\u65e5\u3001\u30d1\u30ea\u306e\u30a8\u30f3\u30b5\u30c3\u30c9(Ensad)\u306b\u304a\u3044\u3066\u3001\u30a8\u30f3\u30b5\u30c3\u30c9\u2022\u30d1\u30ea\u7b2c\uff18\u5927\u5b66\u4e3b\u50ac\u3001\u30b8\u30e3\u30f3\uff1d\u30eb\u30a4\u2022\u30dc\u30ef\u30b7\u30a8\u306e\u7d39\u4ecb\u306b\u3088\u308b\u5409\u5ca1\u6d0b\u8b1b\u6f14\u4f1a\u3092\u884c\u3044\u307e\u3059\u3002\u5165\u5834\u81ea\u7531\u300118\u664230\u5206\u958b\u59cb\u3001\u662f\u975e\u304a\u8d8a\u3057\u4e0b\u3055\u3044\u3002\u8b1b\u6f14\u306f\u82f1\u8a9e\u3001\u30c7\u30a3\u30b9\u30ab\u30c3\u30b7\u30e7\u30f3\u306f\u82f1\u8a9e\u3001\u30d5\u30e9\u30f3\u30b9\u8a9e\u3001\u65e5\u672c\u8a9e(\u306a\u3069)\u53ef\u3067\u3059\u3002\u3054\u8cea\u554f\u306a\u3069\u3054\u3056\u3044\u307e\u3057\u305f\u3089\u3053\u306e\u30d6\u30ed\u30b0\u3092\u901a\u3058\u3066\u3054\u9023\u7d61\u304f\u3060\u3055\u3044\u3002 When Interaction Reaches the Critical Point […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[13,20],"tags":[154,298,296,297,299,294,295,153],"_links":{"self":[{"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=\/wp\/v2\/posts\/1829"}],"collection":[{"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1829"}],"version-history":[{"count":17,"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=\/wp\/v2\/posts\/1829\/revisions"}],"predecessor-version":[{"id":2548,"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=\/wp\/v2\/posts\/1829\/revisions\/2548"}],"wp:attachment":[{"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1829"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1829"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.mrexhibition.net\/wp_mimi\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}