Calenda - La restitution en recherche cr茅ation : enjeux et perspectives

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Il s’agira de réfléchir aux modalités et attentes d’une telle recherche dans le cadre académique, et les perspectives qui s’ouvrent pour les autres champs de la recherche. Ce sera l’occasion de questionner la place du chercheur/de la chercheuse en création au sein de la communauté scientifique.</p> <p> </p> </div> </div> <div id="annonce"> <p class="intitule">An煤ncio</p> <div id="annonce-1210465-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Présentation</h1> <p>Qu’est-ce que la recherche-création en art et/ou en design ? Quels sont les équilibres et les articulations concrètes entre recherche théorique et recherche pratique dans une recherche-création ? Quelle est sa place dans le milieu académique ? Comment passer le cap de l’écrit dans le cadre d’une thèse ou d’un article ? Comment opérer un dialogue entre recherche universitaire et création artistique (Di Bartolo, Bonin, 2024) ?</p> <p>Cette journée d’études vise à identifier des formes de restitutions possibles qui respectent à la fois les cadres attendus de la production académique tout en prenant en compte des formes d’expression de l’art et du design (Raiche-Savoie, Demene, 2022). Il s’agira de réfléchir aux modalités et attentes d’une telle recherche dans le cadre académique, et les perspectives qui s’ouvrent pour les autres champs de la recherche. Ce sera l’occasion de questionner la place du chercheur/de la chercheuse en création au sein de la communauté scientifique.</p> <p>La polarisation entamée durant la Renaissance entre arts et sciences ne va pas de soi (Wilson, 2010). En témoigne par exemple le travail de Léonard de Vinci, à la fois inventeur, scientifique et artiste. La recherche-création, ou bien création recherche, s’inscrit dans une tradition universitaire intégrant les pratiques artistiques et plus vastement les pratiques de création à la recherche. Déjà au sein de l’école du Bauhaus, la création était reconnue et valorisée comme une recherche. Elle donnait lieu à une littérature sur la conception d’&oelig;uvres, de formes et de process. L’artiste et créatif s’éloignait de la représentation de l’être introspectif et purement imaginatif, devenant lui aussi un être de raison. Capable de théoriser son travail, l’artiste sort ainsi de son atelier pour se mettre en lien avec d’autres domaines afin de nourrir sa recherche, et, en retour, apporter des éléments réflexifs. C’est ainsi que Pluta et Losco-Lena (2015 : 39), dans leur article « Pour une topographie de la recherche création », définissent ce champ universitaire : « Il y a recherche-création dès lors que d’autres praticiens, appartenant au champ de l’art comme à d’autres champs, tels ceux du savoir et des techniques, peuvent puiser dans les &oelig;uvres produites et les processus qui les ont façonnées des éléments susceptibles d’alimenter leurs propres activités. » En quel sens l’artiste pourrait-il donc être considéré comme chercheur (Conte, 1999) ?</p> <p>Il est souvent objecté que toute recherche est une création. C’est ce qui a motivé un changement de nom au sein de l’Université Paris 1, par exemple, en « création recherche » (CREA, création recherche en art), précisant ainsi qu’il s’agit bien de créer une recherche. Si le chercheur scientifique est un observateur précis et rigoureux, cherchant des réponses claires, le chercheur créatif est à l’inverse un explorateur, plus ambiguë, sondant ainsi les incertitudes. Jean Lancri (2001 : 105) le résume ainsi : « La recherche en Arts Plastiques, considérée dans sa fonction la plus critique, ne préconise pas un autre usage de la rationalité mais prône l’usage d’une autre rationalité ». Elle est destinée à dialoguer avec d’autres champs de la recherche. Jean Lancri conclut que la thèse en arts « est une thèse 100 modèles. Elle demeure à jamais sans modèle car il est pour elle autant de modèles que de chercheurs » (2001 : 102).</p> <p>En somme, le chercheur cherche sa recherche. Dès lors, la réalisation d’une thèse, et plus vastement d’une recherche-création, peut être tout à la fois exaltante par la possibilité qu’offrent les 100 modèles, que déroutante par son absence de canevas. Cette ambiguïté s’exprime particulièrement au moment de la rédaction. Le difficile équilibre entre création et théorie, conduit le.a doctorant.e à se conformer aux modèles dominants qui sont ceux de la recherche action, théorique ou expérimentale. En conséquence, elle.il est amené à délaisser sa création ou à douter de la place de cette dernière dans le travail attendu. Ainsi, la gymnastique de la recherche-création consiste à trouver une forme de restitution articulant pratique et théorie, qui doit à la fois répondre aux attendus et modalités académiques tout en respectant ses propres formes de restitution afin de rester fidèle à son intention initiale.</p> <p>La journée d’études propose une réflexion collective sur « comment chercher sa recherche » (Dautrey, 2012). Elle permettra d’identifier des modes de rédaction. Elle sera l’occasion de se focaliser sur le sens d’une telle démarche, à partir des fondamentaux du « pourquoi », « pour qui », et surtout « comment », afin de déboucher sur une production opératoire pour la recherche dont l’utilité et la richesse sont reconnues par les pairs.</p> <h1 class="MsoNormal">Programme</h1> <h2 class="MsoNormal">Vendredi 29 Novembre 2024</h2> <h3 class="MsoNormal">Ouverture</h3> <p class="MsoNormal">9h30 Accueil</p> <p class="MsoNormal">10h Introduction</p> <ul> <li class="MsoNormal"><strong>Amos Fergombé</strong>, Professeur des universités, directeur de DeScripto - Larsh, UPHF. <strong>Auguste Hazemann</strong>, Designer et artiste, doctorant à DeScripto - Larsh, UPHF.</li> </ul> <h2 class="MsoNormal">Première Session</h2> <p class="MsoNormal">Présidence - <strong>Jean-Jacques Gay</strong>, Critique d’art, curateur, Ph.D et chercheur avec Laboratoire CITU/ Paragraphe.</p> <h3 class="MsoNormal">10h25 <em>La Série des écoles d’été Useful Fictions</em></h3> <ul> <li class="MsoNormal"><strong>Jean-Marc Chomaz</strong>, Directeur de recherche CNRS, professeur de physique à l’École polytechnique (LadHyX), co-responsable de la Chaire arts & sciences.</li> </ul> <h3 class="MsoNormal">10h50 <em>Anatomie du processus créatif : une méthode de recherche-création en quatre temps</em></h3> <ul> <li class="MsoNormal"><strong>Nikoleta Kerinska</strong>, Artiste multimédia, MCF en Arts et Humanités Numériques, DeScripto - Larsh UPHF</li> </ul> <h3 class="MsoNormal">11h15 <em>Mise en pratique : Performativité et place du faire comme enjeux de restitution de la recherche-création.</em></h3> <ul> <li class="MsoNormal"><strong>Raphaëlle Kerbrat</strong>, Artiste plasticienne et docteure SACRe – PSL de l’École des Arts Décoratifs de Paris.</li> </ul> <p class="MsoNormal">11h40 Discussion</p> <p class="MsoNormal">12h - 13h Pause repas</p> <h2 class="MsoNormal">Deuxième Session</h2> <p class="MsoNormal">Présidence - <strong>Jean-Marc Chomaz</strong>, Directeur de recherche CNRS, professeur de physique à l’École polytechnique (LadHyX), co-responsable de la Chaire arts & sciences.</p> <h3 class="MsoNormal">13h <em>Un voeu pour la forêt, une zone critique de la rencontre</em></h3> <ul> <li class="MsoNormal"><strong>Anouk Daguin</strong>, Artiste et docteure en science de l’art, spécialisée en méthodologie artistique et anthropologique de la rencontre. Professeure associée à l’Université PARIS 8 ~ Vincennes - Saint-Denis, UFRArts, Philosophie & Esthétique.</li> </ul> <h3 class="MsoNormal">13h25 <em>Recherche-création et humanités environnementales : créer pour raconter l’écologie autrement</em></h3> <ul> <li class="MsoNormal"><strong>Leila Chakroun</strong>, Chercheuse associée au Ladyss (Laboratoire Dynamiques sociales et Recomposition des Espaces), Paris.</li> </ul> <h3 class="MsoNormal">13h50 <em>Dépasser les formats académiques et légitimité de la recherche-création en contexte académique. Quelques médiums dialogiques pour la recherche en design.</em></h3> <ul> <li class="MsoNormal"><strong>Elise Rigot</strong>, chercheuse en design et enseignante (LLA-CRÉATIS et LAAS- CNRS).</li> </ul> <p class="MsoNormal">14h15 Discussion</p> <p class="MsoNormal">14h40 Pause</p> <h2 class="MsoNormal">Troisième Session</h2> <p class="MsoNormal">Présidence - <strong>Elise Rigot</strong>, chercheuse en design et enseignante (LLA-CRÉA- TIS et LAAS-CNRS).</p> <h3 class="MsoNormal">15h <em>La Recherche en art, redondance ou vanité curatoriale ?</em></h3> <ul> <li class="MsoNormal"><strong>Jean-Jacques Gay</strong>, Critique d’art, curateur, Ph.D et chercheur avec Laboratoire CITU/Paragraphe</li> </ul> <h3 class="MsoNormal">15h25 <em>La Pertinence des théories littéraires dans le processus de création</em></h3> <ul> <li class="MsoNormal">Mara Magda Maftei, Critique littéraire et essayiste, professeure des universités (École doctorale des Lettres, Université de Bucarest), HDR (Université Paris Nanterre), chercheure associée du Laboratoire d’anthropologie politique (UMR 8177, CNRS/EHESS)</li> </ul> <h3 class="MsoNormal">15h50 <em>Restituer des pratiques artistiques par la photographie : réflexion à partir </em><em>d’une expérience sur les musiques abidjanaises</em></h3> <ul> <li class="MsoNormal"><strong>Léo Montaz</strong>, Chargé de recherche au Fonds de la Recherche Scientifique – FNRS, Laboratoire d’Anthropologie des Mondes Contemporains, Université Libre de Bruxelles</li> </ul> <p class="MsoNormal">16h15 Discussion</p> <p class="MsoNormal">16h40 Fin et collation</p> <h1>Informations utiles</h1> <p class="MsoNormal">Organisée par : auguste hazemann amos fergombé</p> <p class="MsoNormal">Pour suivre à distance : <a href="https://bbb.uphf.fr/rooms/qp8-kz2-o9w-ev6/join">https://bbb.uphf.fr/rooms/qp8-kz2-o9w-ev6/join</a></p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Categorias</p> <ul> <li><a href="search?primary=fsubject&fsubject=286">Epistemologia e m茅todos</a> (Categoria principal)</li> </ul> </div> <div id="lieux"> <p class="intitule">Locais</p> <ul> <li class="location"> Amphi 500 - B芒timent Matisse, campus Mont Houy <br/> Valenciennes, Fran莽a (59) </li> </ul> </div> <div id="eventformats"> <h2 class="intitule">Formato do evento</h2> <p>Evento h铆brido (online e no local) </p><br></div> <div id="dates"> <p class="intitule">Datas</p> <ul> <li>sexta, 29 de novembro de 2024</li> </ul> </div> <div id="attachments"> <p class="intitule">Ficheiros anexos</p> <ul> <li><a href="1210480?file=1" target="_blank">programme_recherche-creation_enjeux_et_perspectives.pdf</a></li> </ul> </div> <div id="motscles"> <p class="intitule">Palavras-chave</p> <ul> <li>recherche, cr茅ation, recherche-cr茅ation, art, design, art et science, restitution</li> </ul> </div> <div id="contacts"> <p class="intitule">Contactos</p> <ul> <li>Sophie Ballet<br/><em>courriel :</em> sophie [dot] ballet [at] uphf [dot] fr<br/></li> </ul> </div> <div id="source"> <p class="intitule">Fonte da informa莽茫o</p> <ul> <li>auguste hazemann<br/><em>courriel :</em> auguste [dot] hazemann [at] uphf [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licen莽a</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Este an煤ncio 茅 licenciado sob os termos <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universal</a>.</p> </div> <div id="citation"> <p class="intitule">Para citar este an煤ncio</p> <p>芦 La restitution en recherche cr茅ation : enjeux et perspectives 禄, <span class="category">Jornadas</span>, <em>Calenda</em>, Publicado quarta, 20 de novembro de 2024, <a class="url" href="https://doi.org/10.58079/12q1k">https://doi.org/10.58079/12q1k</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" 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