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[Noisy-le-Sec • France • 12 March 2016]


How to get free of landscape? How to transcend what Monet called an “unfortunate speciality”? The solution he came up with lay in a motif taken from landscape but differing from it by virtue of indefinite repetition. Late in the summer of 1889, after a visit to Giverny by Berthe Morisot and Mallarmé, the painter stopped to scrutinise a haystack: he had found what he was looking for.


Marianne Alphant is a French writer and literary critic. A graduate of the Ecole Normale and holder of an agrégation in philosophy, she worked for the Paris daily Libération from 1983 to 1982. She edited the Centre Pompidou’s Revues parlées from 1993 to 2010 and is the author of several books on Claude Monet, among them Monet: une vie dans le paysage (Paris: Hazan, 1993, reprinted 2010).

"Delegation and Photographic Protocols in Conceptual Art" by Guillaume Le Gall, lecturer in art history at the Université de Paris-Sorbonne

[Noisy-le-Sec • France • 12 March 2016]


Douglas Huebler was one of the first artists to employ photography in the context of systems defined as conceptual. Most notably, though, he was the one who put it to continuous, protean use. The camera not only allowed him to describe and produce facsimiles of everyday objects; it also enabled the imagining of the procedures that accompanied his statements. These procedures hinged on protocols described in the conceptual statements. We shall see, nonetheless, that all appearances to the contrary, these protocols left considerable room for approximation.


Guillaume Le Gall is a lecturer in the history of contemporary art at the Université de Paris-Sorbonne and a former resident of the Villa Médicis, the French Academy in Rome. He has curated exhibitions on contemporary photography – « Fabricca dell’immagine » (Villa Médicis, 2004) and « Learning Photography » (FRAC Haute-Normandie, 2012) – and co-curated exhibitions on Eugène Atget (« Eugène Atget, Une rétrospective », Bibliothèque Nationale de France, 2007), and Surrealist photography (« La Subversion des images », Centre Pompidou, 2009). He recently published La Peinture mécanique (Editions Mare & Martin) and was the editor of the last two Carnets du BAL.

“Emotion and Creativity in Artificial Intelligence Forms” by Angelica Lim, researcher in artificial intelligence and robotics

[Noisy-le-Sec • France • 27 february 2016]


In Japan, human-like robots act in theatre plays, eliciting empathy and even tears from the audience. In this talk, we will explain how robotics researchers are now finding inspiration in domains such as music, theatre and humour, and why emotion and creativity as some of the hardest problems in Artificial Intelligence today. What is the current state of AI, and how are robots affecting its evolution? To what extent can a robot have authentic emotional intelligence or be creative?


Angelica Lim have a B.Sc. in Computing Science (specializing in Artificial Intelligence) from Simon Fraser University and a M.Sc. and Ph.D in Informatics (specializing in Artificial Intelligence and Signal Processing) from Kyoto University. She is also a journalist for the IEEE Spectrum Robotics Blog Automaton. She works as an A.I. roboticist at Aldebaran Robotics, a human-like robot builder company. http://www.angelicalim.com

"The Impact of Intensive Farming on Soils" by Marc Dufumier lecture in french

[Noisy-le-Sec • France • 27 february 2016]


In the next decades, it will be necessary to respond to the increased demand for food and agricultural products on the world market, with farmland reduction, due to the expansion of cities on the best arable lands. But the increase in yields per hectare will be possible only if we manage to preserve soil fertility. Forms of industrial agriculture that tend to prevail nowadays, unfortunately, causes more damage because of very different phenomena: erosion, leaching, salinization, compaction, etc. So the question is how it will be possible to increase agricultural yields without endangering the fertility of our soils and under what conditions.


Marc Dufumier, agronomist and teacher/researcher at AgroParisTech.

[Noisy-le-Sec • France • 13 february 2016]


“Passivity is usually defined through a multiplicity of varying statements that constitute a sum of mostly nega­tive propositions: passivity is rarely defined positively. Passivity thus appears as the negative form of its other, opposite, and positive form, which is activity. Therefore passivity comes to signify an absence of action, reaction, or participation, as well as being dominated by and under the influence of another or others. Passivity is also associated with syno­nyms such as “inertia” and “apathy”, hinting at forms of pathology associ­ated with depression. Passivity has been metaphorically used to produce a distinction between objects and subjects, considering objects as fun­damentally passive whereas subjects are supposed to be active—a passive subject constitutes a form of dysfunc­tion and pathology.”


Vanessa Desclaux


Vanessa Desclaux is an independent curator, art critic and a teacher at the Dijon school of art. Her PhD from Goldsmith college, London, on art and curating explores the relationship between artistic practice and curatorial practice. She questions the conditions in which curating practices and the figure of the curator transform and have an effect on each of them.