{"id":13,"date":"2020-12-02T22:04:02","date_gmt":"2020-12-02T21:04:02","guid":{"rendered":"https:\/\/giulioli.com\/?page_id=13"},"modified":"2021-01-04T14:14:43","modified_gmt":"2021-01-04T13:14:43","slug":"textes-2","status":"publish","type":"page","link":"https:\/\/giulioli.com\/?page_id=13","title":{"rendered":"Textes"},"content":{"rendered":"\t\t
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D\u00e9marche artistique<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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A propos d\u2019art num\u00e9rique…<\/strong> (C.G., 2019)<\/h4>

Question de style<\/p>

Qu\u2019est-ce que le style d\u2019un artiste\u00a0? Est-ce la manifestation d\u2019une r\u00e9alit\u00e9 essentielle de son \u00eatre profond\u00a0? Est-ce l\u2019accumulation fortuite d\u2019habitudes prises au cours d\u2019ann\u00e9es de travail? Serait-il possible d\u2019imaginer une machine qui serait capable d\u2019imiter le style d\u2019un artiste<\/strong>\u00a0? C\u2019est cette question qui a d\u00e9clench\u00e9 mon int\u00e9r\u00eat pour l\u2019art num\u00e9rique d\u00e8s 2003<\/p>

La Machine \u00e0 Peindre<\/p>

C\u2019est ma propre peinture que j\u2019ai soumise \u00e0 l\u2019analyse pour cr\u00e9er mon premier programme, \u00ab\u00a0La Machine \u00e0 Peindre\u00a0\u00bb en 2003. Cette situation de \u00ab\u00a0regardeur\u00a0\u00bb de mes propres travaux m\u2019a beaucoup appris. J\u2019ai d\u00e9couvert que certains \u00e9l\u00e9ments \u00e9taient d\u00e9terminants alors que d\u2019autres \u00e9taient accessoires, j\u2019ai d\u00e9couvert qu\u2019au fil des ann\u00e9es j\u2019avais acquis des habitudes, je me suis demand\u00e9 pourquoi certaines \u0153uvres me semblaient plus fortes que d\u2019autres. J\u2019ai enfin \u00e9crit un programme informatique qui peut cr\u00e9er des images qui ressemblent aux \u0153uvres que je peux peindre. Et j\u2019ai pu imprimer ces \u0153uvres sur des supports mat\u00e9riels tels que le papier, la toile ou l\u2019aluminium. Le principe de mon programme est d\u2019instituer des r\u00e8gles pr\u00e9cises de composition du tableau tout en laissant beaucoup de choix \u00ab\u00a0au hasard\u00a0\u00bb \u00e0 l\u2019ordinateur.<\/p>

L\u2019\u0153uvre Sans Fin<\/p>

Le hasard<\/strong> est ainsi devenu la mati\u00e8re m\u00eame de mon travail.\u00a0Pour \u00eatre pr\u00e9cis, je pr\u00e9f\u00e8re le terme de \u00ab\u00a0jeu\u00a0\u00bb au terme de \u00ab\u00a0hasard\u00a0\u00bb, comme le jeu qui peut exister dans un assemblage m\u00e9canique. C’est ce jeu qui rend le mouvement possible.<\/p>

En m\u2019\u00e9loignant du point de vue strictement pictural, je me suis attach\u00e9 \u00e0 faire ressentir la pr\u00e9sence du temps, cette \u00ab\u00a0cr\u00e9ation continue d\u2019impr\u00e9visible nouveaut\u00e9\u00a0\u00bb selon l\u2019expression de Bergson. Dans les \u0153uvres \u00ab\u00a0g\u00e9n\u00e9ratives\u00a0\u00bb, l\u2019image se cr\u00e9e en direct<\/strong>, les accidents surviennent de fa\u00e7on al\u00e9atoire et l\u2019image \u00e9volue librement. Il se passe r\u00e9ellement quelque chose l\u00e0, sous nos yeux. Le mouvement et le rythme sont les ingr\u00e9dients de ce travail. Ce n\u2019est plus l\u2019image enregistr\u00e9e qui constitue l\u2019\u0153uvre, mais son passage dans le temps. Percevoir ce temps qui passe sous forme du \u00ab\u00a0toujours m\u00eame et toujours diff\u00e9rent\u00a0\u00bb.<\/p>

Petit \u00e0 petit, les programmes que j\u2019\u00e9cris s\u2019\u00e9loignent de ma peinture. Dans les \u00ab\u00a0Lignes Sans Calcul \u00bb, il n\u2019y a plus trace de mes dessins, les formes sont le fruit du calcul math\u00e9matique. Sur l\u2019\u00e9cran, une ligne se dessine, comme une \u00e9criture. Mon regard suit la pointe extr\u00eame de la ligne et son mouvement me dit quelque chose de ma vie. L\u2019\u00e9quation math\u00e9matique donne un \u00ab\u00a0style\u00a0\u00bb, une coh\u00e9rence d\u2019ensemble, \u00e0 la ligne tandis que les param\u00e8tres al\u00e9atoires la rendent totalement impr\u00e9visible dans le d\u00e9tail. Cet \u00e9trange compos\u00e9 de structure et d\u2019improvisation<\/strong>, un peu \u00e0 la mani\u00e8re du Jazz en musique, font \u00e9cho \u00e0 ma propre existence.<\/p>

Pourquoi num\u00e9rique\u00a0?<\/p>

L\u2019ordinateur est un outil extraordinaire, sa capacit\u00e9 \u00e0 produire du hasard de fa\u00e7on simple ainsi que la possibilit\u00e9 de cr\u00e9er des images qui \u00e9voluent dans le temps ouvrent des voies nouvelles. On peut \u00e9galement s\u2019\u00e9merveiller sur la qualit\u00e9 de la lumi\u00e8re, des transparences et des couleurs qu\u2019il permet. Cependant, il serait na\u00eff de penser que l\u2019ordinateur cr\u00e9e des \u0153uvres par lui-m\u00eame. Le travail se situe simplement en amont de l\u2019image<\/strong> elle-m\u00eame. Une autre caract\u00e9ristique est la rapidit\u00e9 de production et l\u2019abondance des images produites. Le rapport \u00e0 l\u2019image s\u2019en trouve modifi\u00e9. Le travail de s\u00e9lection est extr\u00eamement important. Ces choix sont particuli\u00e8rement int\u00e9ressants parce qu\u2019il obligent \u00e0 comprendre pourquoi certaines images retiennent mon attention alors que d\u2019autres non.<\/p>

La pratique de l\u2019art num\u00e9rique influence aussi la perception que j\u2019ai du hasard et de son r\u00f4le dans notre exp\u00e9rience quotidienne.<\/p>

La \u00ab\u00a0mati\u00e8re\u00a0\u00bb num\u00e9rique<\/p>

Les \u0153uvres num\u00e9riques gardent un caract\u00e8re \u00ab\u00a0virtuel\u00a0\u00bb – m\u00eame si mes dessins sont souvent \u00e0 la base de mes programmes. On peut regretter de ne plus trouver la trace \u00e9mouvante de la main de l\u2019artiste. Pourtant, la pratique num\u00e9rique n\u2019est pas si diff\u00e9rente des autres formes d\u2019art\u00a0: l\u2019art na\u00eet toujours de la confrontation d\u2019une id\u00e9e avec une mati\u00e8re. \u00ab\u00a0L\u2019art doit na\u00eetre du mat\u00e9riau\u00a0\u00bb \u00e9crit Jean Dubuffet. La mati\u00e8re questionne et remet en cause l\u2019id\u00e9e immat\u00e9rielle de l\u2019artiste. L\u2019art num\u00e9rique aussi a son propre mat\u00e9riau\u00a0: c\u2019est le mat\u00e9riel informatique et l\u2019\u00e9criture du code<\/strong>. Comme le sculpteur ou le peintre, l\u2019artiste num\u00e9rique rencontre des limites et trouve petit \u00e0 petit la mani\u00e8re qui lui correspond. Il doit donner forme \u00e0 son intuition dans le cadre fini de l\u2019\u00e9cran num\u00e9rique et avec les moyens de son habilet\u00e9 \u00e0 concevoir et d\u00e9velopper du code. Et le chemin est parfois long et tortueux de l\u2019id\u00e9e initiale \u00e0 l\u2019\u0153uvre aboutie.<\/p>

Intelligence Artificielle<\/p>

Le sujet est d\u2019actualit\u00e9 depuis la vente du \u00ab\u00a0Portrait d\u2019Edmond Belamy\u00a0\u00bb chez Christie\u2019s en octobre 2018. L\u2019Intelligence Artificielle a ainsi \u00e9t\u00e9 introduite dans le monde de l\u2019art. La machine a \u00e9t\u00e9 capable d\u2019\u00a0\u00ab\u00a0apprendre\u00a0\u00bb \u00e0 partir de milliers de portraits existants ce qu\u2019est un portrait et \u00e0 partir de l\u00e0 de proposer des images qui ont toutes les caract\u00e9ristiques d\u2019un portrait. Mais la machine n\u2019explicite pas ses r\u00e8gles et crit\u00e8res et ceux-ci restent inaccessibles aux humains. Cela est un peu frustrant pour l\u2019artiste puisque c\u2019est justement l\u2019invention de r\u00e8gles<\/strong> ind\u00e9pendamment de mod\u00e8les pr\u00e9existants qui me semble la partie la plus int\u00e9ressante de l\u2019art num\u00e9rique g\u00e9n\u00e9ratif.<\/p>

C.G., 2019<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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entretien<\/span> avec Jean-Jacques Dorne et Marc Nayfeld,\u00a0 novembre 2017<\/a><\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tFacebook<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tInstagram<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tVimeo<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tLinkedin<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

D\u00e9marche artistique A propos d\u2019art num\u00e9rique… (C.G., 2019) Question de style Qu\u2019est-ce que le style d\u2019un artiste\u00a0? Est-ce la manifestation d\u2019une r\u00e9alit\u00e9 essentielle de son \u00eatre profond\u00a0? Est-ce l\u2019accumulation fortuite d\u2019habitudes prises au cours d\u2019ann\u00e9es de travail? Serait-il possible d\u2019imaginer une machine qui serait capable d\u2019imiter le style d\u2019un artiste\u00a0? C\u2019est cette question qui a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-13","page","type-page","status-publish","hentry"],"yoast_head":"\nTextes - 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