Conference
Rabelais, écrire en temps de basculement
As part of course FRA1102 - Introduction à l'humanisme, François Bon will present the lecture “Rabelais, écrire en temps de basculement” at UdeM's Département des littératures de langue française.
Workshop
Workshop on Textual Modeling Tuesday, March 25, 2025, at the University of Rouen Normandy
Workshop on Textual Modeling
Colloquium
Call for papers : Bricoler des éditions numériques. Pratiques, représentations et usages de la métaphore du bricolage
The Rouen-Normandie Chair of Excellence in Digital Publishing is organizing a colloquium entitled "Bricoler des éditions numériques. Pratiques, représentations et usages de la métaphore du bricolage".
Launch
Diamond Open Access in Scholarly Publishing, report submited by Jean-Claude Guédon, was published on Revue3.0 website
Report submitted by Jean-Claude Guédon for review by the OPERAS advisory committee, aimed at progressing on the issue of governance for the diamond option
Conference
AI Webinar with Marcello Vitali-Rosati
The interdisciplinary research group Intergestes will invite Marcello Vitali-Rosati online for the next webinar in its 2024-2025 cycle of scientific dialogues.
Champ de recherche
Medias
What is a medium? What are the relationships between media? Can the web be considered a medium? The Canada Research Chair is developing an intermedial approach for addressing these questions, all while challenging the traditional definitions of terms such as “media,” “mediation,” etc., in order to avoid adopting an essentialist perspective. One of the key concepts of this line of thought is that of “mediating conjunctures.”
Champ de recherche
Publishing
The web resembles a giant repository of published content. Indeed, everything on the web is published, from blog posts to restaurants on TripAdvisor and apartments on AirBNB. In light of this, it has become essential to reflect on publishing as a way of understanding the architecture of digital space. The Canada Research Chair is working on developing the concept of editorialization in order to better understand this “published” world.
Champ de recherche
Literature
Our culture is deeply affected by digital praxis: the way we perceive space, time, relationships between public and private spheres, our identity and our privacy are undergoing intense structural changes. The entirety of our lives, our worldviews and our values are being altered. Literature has also experienced this metamorphosis in terms of its boundaries, styles and structures, as well as with its cultural, social and political functions. Digital praxis has an impact on both hypermedia literary forms and print literature. The Canada Research Chair is less focused on digital literature itself, and more on literature in the digital era. This perspective involves understanding how our culture is being globally affected through the analysis of recent changes in every aspect of literature in the digital age (for example, the concepts of the author, the literary work, as well as the notions text and fiction).
Champ de recherche
Philosophy
If the advent of the digital, of new technologies and of new media has engendered a wide reflection in all areas of the humanities and social sciences, philosophical reflection seems to have lost some momentum, with some exceptions. The Canada Research Chair in Digital Textualities aims to mobilize the analytical tools, methodologies and concepts of philosophical thought in order to contribute to understandings of contemporary issues.
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"content_html": "<h2>Team</h2>\n<ul>\n<li>Project leader: Marcello Vitali-Rosati</li>\n<li>Project coordinator: Antoine Fauchié</li>\n<li>Team: Emmanuel Château-Dutier, Eugénie Matthey-Jonais, Margot Mellet, Servanne Monjour, Nicolas Sauret, Michael E. Sinatra</li>\n<li>Project website: <a href=\"http://revue20.org/\">http://revue20.org/</a></li>\n<li>Project founded by <a href=\"http://www.sshrc-crsh.gc.ca/home-accueil-fra.aspx\">CRSH</a></li>\n</ul>\n<h3>External ressources</h3>\n<ul>\n<li><a href=\"http://revue20.org/publications/\">Publications and communications</a></li>\n<li>Project Wiki (<a href=\"mailto:nicolas.sauret@umontreal.ca\">access on request</a>)</li>\n</ul>\n<h2>About the project</h2>\n<p>This project aims to help researchers and practitioners of scholarly journals in the social sciences and humanities work through the digital transition by harnessing the full potential of new technologies.</p>\n<p>Indeed, if scholarly journals in the humanities have now (at least almost) completed the transition to digital technology (especially in terms of production and circulation), it is clear that they are still far from fully exploiting all the potential of the web. By collaborating with the principal actors of the scientific community (publishers, diffusers, aggregators), this development project aims to better respond to the emerging needs of researchers by rethinking the role of scholars in the digital age. Our goal is twofold. We aim to:</p>\n<p><strong>1) Produce an epistemological model for journals in the digital age.</strong></p>\n<p>Our research will look at the historical mission of scholarly journals, determine how we can respond to this (or these) objective(s), and assess how they have been or are being redefined in the digital age. The challenge relating to the notion of digital transition is not just a technical question: the generalization of free access, for example, is typically the sign of a reassessment of the role and mission of the publisher. By investing, little by little, in the web, the magazine changes the very meaning of the term “publication,” returning to its original meaning: public. How to integrate a journal, a file or even a single article into a digital ecosystem in constant evolution? What should be the editorial tasks today, no longer just considered prior to publication, but once the journal has been published online, in order to join the scholarly communities of the web?</p>\n<p><strong>2) Propose a new editorial model for scholarly journals in the humanities.</strong></p>\n<p>We will look at producing specifications for the various actors of scholarly publishing (publishers, broadcasters, aggregators). Our partners on this project—especially broadcasters and the Aggregator—have made significant efforts to ensure the integration, sustainability and visibility of journals on the web. This project will have to give them additional resources for the creation of tools and protocols better suited to the needs of researchers and publishers.</p>\n<p>Our project is the first to unite a number of French-language digital broadcasters, including the two largest <strong><a href=\"https://www.erudit.org/\">Érudit</a> and <a href=\"https://www.openedition.org/\">OpenEdition</a></strong>, as well as the only aggregator of content in the human sciences, <strong> <a href=\"https://www.huma-num.fr/\">Huma-Num</a></strong>, with a group of scholarly journals ready to engage in experiments to improve their digital transition: <strong> <a href=\"http://revue-etudesfrancaises.umontreal.ca/\">French Studies</a></strong>, <strong><a href=\"http://intermedialites.com/\">Intermedialities</a> </strong>, <strong><a href=\"https://www.erudit.org/fr/revues/memoires/\">Book Memories</a></strong>, <strong> <a href=\"https: //journals.openedition.org/itineraries/\">Itineraries</a></strong>, <strong><a href=\"https://journals.openedition.org/cybergeo/\">Cybergéo</a></strong>, <strong><a href=\"http://phlit.org/press/?page_id=2570\">International Review of photolitterature</a></strong>.</p>\n<p>This partnership is supported by a team of researchers who, with complementary skills, are at the cutting edge of scholarly digital publishing (including <a href=\"http://revue20.org/lequipe/\">five</a> Canada Research Chairs specializing in digital humanities).</p>\n<p>The project will mobilize skills that are both practical (especially in digital publishing) and theoretical (general epistemologies of the digital humanities, but also notions on the production, validation and dissemination of content). It is essential that our thinking converges with the practices of the publishing industry. This rapprochement will help to anchor theoretical reflection within the complex reality of editorial activities.</p>\n<p><img src=\"https://donnees.ecrituresnumeriques.ca/assets/25cffbd5-daba-4778-85fe-ef2a045fe6d9.jpg?width=4033&height=486\" alt=\"Sshrc Fip Full Color Eng\"></p>",
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"content_html": "<div class=\"infoArticle\">\r\n<h3>Project leader: <a href=\"http://ecrituresnumeriques.ca/en/Team/Marcello-Vitali-Rosati-\">Marcello Vitali-Rosati</a></h3>\r\n<h3>Project coordinator: <a href=\"https://ecrituresnumeriques.ca/fr/Equipe/Emmanuelle-Lescouet\">Emmanuelle Lescouet</a></h3>\r\n<h3>Team: <a href=\"https://ecrituresnumeriques.ca/fr/Equipe/Roch-Delannay\">Roch Delannay</a></h3>\r\n<h3>Project founded by <a href=\"https://www.innovation.ca/en\">CFI</a></h3>\r\n<h3>Project Website: <a href=\"https://repertoire.ecrituresnumeriques.ca/s/repertoire/page/accueil\">https://repertoire.ecrituresnumeriques.ca/s/repertoire/page/accueil</a></h3>\r\n<h3><a href=\"https://twitter.com/RepMurmure\">Compte Twitter du projet</a></h3>\r\n<h3><a href=\"https://www.twitch.tv/ecrituresnumeriques\">Corpus Twitch channel</a></h3>\r\n<h3>Project documentation</h3>\r\n<p>\r\n<ul>\r\n<li><a href=\"http://repertoire.ecrituresnumeriques.ca/s/repertoire-numerique/page/welcome\">Website</a></li>\r\n</ul>\r\n</p>\r\n<p>\r\n<ul>\r\n<li><a href=\"https://lab-yrinthe.ca/actualites/streamer-la-litterature-numerique-sur-twitch\">Project Page on LAB-yrinthe</a></li>\r\n</ul>\r\n</p>\r\n<h3>External resources</h3>\r\n<p>\r\n<ul>\r\n<li><a href=\"http://cellproject.net/\">CELL Project</a></li>\r\n</ul>\r\n</p>\r\n<p>\r\nThis project is part of an international collaboration that includes the partnership <a href=\"https://lqm.uqam.ca/\">Littérature Québécoise Mobile (LQM)</a>, led by Bertrand Gervais from Uqam, and the French consortium <a href=\"https://marge.univ-lyon3.fr/projet-lifranum\">LiFraNum</a>, led by Gilles Bonnet from University of Lyon 3 - Jean Moulin</p>.\r\n</div>\r\n<div class=\"resumeArticle\">\r\n<img src=\"https://f.hypotheses.org/wp-content/blogs.dir/2967/files/2016/02/bandeau-livre-num%C3%A9rique-672x372.png\">\r\n<h3 id=\"descriptionProjet\">Project description</h3>\r\n<p>Made possible by a grant from the Canada Foundation for Innovation (CFI), the Digital Writers Directory was developed within the Canada Research Chair on Digital Textualities and is the result of a research project conducted within the group for years, the <a href=\"http://writingactivities.ca/en/Activities/Projects/2016/4/7/Project-Profile\">Profile Project.</a>.\r\n\r\n<p>The Canada Research Chair on Digital Textualities is interested in digital literary forms that do not fall within the definition provided by the ELO. The members of this research project therefore adopt an approach based on the desire to make visible and accessible those works that would not otherwise fit into stable categories. This is because they are not, strictly speaking, hypermedia works, but can neither be considered traditional works.</p>\r\n\r\n<p>For directories devoted to hypermedia literature (like Québec-based <a href=\"http://nt2.uqam.ca/en/search/site/?f%5B0%5D=type%3Arepertoire&retain-filters=1\">NT2</a> directed by Bertrand Gervais at UQAM, or ELO’s CELL project), the concept of a work is not problematic because its limits are stable and defined. And yet, the Digital Writers Directory further problematizes our objects of study.</p>\r\n\r\n<p>\r\nWhat is a work in a digital environment? In the case of writing experiences online, the question is very complex. The spatial and temporal unity that seems required to be able to speak of a “work” of art—and thus to list the characteristics pertaining to it—is very rare in digital space. Let us take the example of a blog: should we consider it as a work in its totality or should we rather consider each page as a separate work? The question becomes even more complex in the case of site workshops like the <a href=\"http://www.tierslivre.net/\" target=\"_blank\"><em>Tiers Livre</em></a> or <a href=\"http://www.desordre.net/\" target=\"_blank\">desordre.net</a> by Philippe de Jonkere, or <a href=\"https://www.liminaire.fr/\" target=\"_blank\"><em>Liminaire</em></a> by Pierre Menard, or <em>Petite Racine</em> by Cécile Portier, or the website of Arnaud Maïsetti, to cite just a few examples. If we take the example of Arnaud Maïsetti, it appears that we could consider the entire site as a work (and therefore list all the entire content of the address <a href=\"http://arnaudmaisetti.net/\" target=\"_blank\">http://arnaudmaisetti.net/</a>), or take into account only one particular project (like its <em>Journal</em>), or take into account only one particular project (like its journal), or take into account each page (a journal entry, a text from the World Fictions project). Each choice has its limitations. Choosing a very fine granularity indeed allows us to describe relatively stable objects (a page can be changed, but it will be less than the whole site) and to consider them relatively homogeneous (regarding content, styles, form, theme, etc.). On the other hand, this description involves radical selection—because of the quantity of the pages—which is necessarily arbitrary. To take just one example, Arnaud Maïsetti’s website, called <em>Carnets</em>, has 2007 pages; <em>Liminaire</em> has about 2000; <em>Le Tiers Livre</em> has more than 4000 (even less if we rely on the automatic numbering of the CMS Spip that manages the site). It is obviously impossible to list all of these pages. Furthermore, a selection of about 100 pages (a figure which would represent approximately the number of works attributed to a relatively efficient author of the traditional book format) would be completely arbitrary. The choice of selecting projects is also very problematic. Although it would seem that this choice best fits a theoretical definition of a “work” of art, it is very difficult to identify and isolate projects from the rest of the site, as writers often alter, adapt and remodel the layout of their platforms.</p>\r\n\r\n<p>Finally, the least problematic choice is to list entire sites and consider the entire site-workshop as a work. One could speak of a \"mosaic archive work\". But, technically, this still poses problems: what is meant by \"site\"? All content managed by the same CMS? All content broadcast under the same domain name? The choice we made in our directory is more about reception than about production. So we decide to put in the background the way the content is managed on the production side and we try to differentiate the content from the user experience. Concretely we consider as a singular work all the content that is distributed inside a platform that displays the same menus, the same graphics (or at least a consistent graphics) and that allows in all pages to return to Home Page. If the use of a single CMS is clearly recognizable, the work ends up corresponding to the CMS, but this is not always verifiable. Projects that come out of this framework - even if we can find a link that points to them in another site - are considered as separate works. So, in the case of <em>Petite Racine</em>, we consider the whole site as a work (and so the headings <em>la tête que ça nous fait</em>, <em>dans le viseur</em>, <em>complément d’objets</em>, <em>à mains nues</em>, <em>singeries</em>, depending on the organization of the site in September 2017), but <em>Étant donnée</em> and <em>Traque traces</em> (whose link is however in the main site) are considered as separate works, because they are based on a completely separate environment and which has no connection with the petiteracine.net website.</p>\r\n\r\n<p>This choice makes it possible to identify workshop sites and to follow the work of a writer. On the other hand, considering these objects as works implies a profound change in our notion of \"work\": these objects are neither homogeneous nor stable. In the same site, we find news, poems, fragments, photos… and every day content, graphics, formatting… change, sometimes in a radical way.</p>\r\n<h3>Corpus Stream</h3>\r\n<p>The Corpus program's mission is to present and explore digital literary works through their live experimentation. The corpus is constituted by drawing from the works referenced on the CRCEN's Répertoire des écritures numériques. The produced exploration of the works is archived in order to keep traces of the potentially perishable digital data.</p>\r\n<p>Each session, hosted by Emmanuelle Lescouet, focuses on a specific work, for a varying duration according to the needs of each.</p>\r\n<p>These broadcasts, intended to be informal, attempt to open research to a non-academic audience, closer to the technophile and gaming communities. All of them are recorded and available afterwards on Nakala for archiving and consultation.</p>\r\n<h3>Work files on LAB-yrinthe</h3>\r\n<p>The <a href=\"https://lab-yrinthe.ca\">LAB-yrinthe</a> site, carried by the <a href=\"https://litmedmod.ca/membres-de-l-quipe\">Research Group on Multimodal Media Literacy</a> documents practices and works for a teaching audience.\r\nThe directory joins this process by participating in the discoverability of the works to their referencing and in the writing of the files for this site.</p>\r\n</div>",
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"content_html": "The web resembles a giant repository of published content. Indeed, everything on the web is published, from blog posts to restaurants on TripAdvisor and apartments on AirBNB. In light of this, it has become essential to reflect on publishing as a way of understanding the architecture of digital space. The Canada Research Chair is working on developing the concept of editorialization in order to better understand this “published” world.",
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"title": "Literature",
"content_html": "Our culture is deeply affected by digital praxis: the way we perceive space, time, relationships between public and private spheres, our identity and our privacy are undergoing intense structural changes. The entirety of our lives, our worldviews and our values are being altered. Literature has also experienced this metamorphosis in terms of its boundaries, styles and structures, as well as with its cultural, social and political functions. Digital praxis has an impact on both hypermedia literary forms and print literature. The Canada Research Chair is less focused on digital literature itself, and more on literature in the digital era. This perspective involves understanding how our culture is being globally affected through the analysis of recent changes in every aspect of literature in the digital age (for example, the concepts of the author, the literary work, as well as the notions text and fiction).",
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{
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"id": 16,
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"languages_code": "en",
"title": "Philosophy",
"content_html": "If the advent of the digital, of new technologies and of new media has engendered a wide reflection in all areas of the humanities and social sciences, philosophical reflection seems to have lost some momentum, with some exceptions. The Canada Research Chair in Digital Textualities aims to mobilize the analytical tools, methodologies and concepts of philosophical thought in order to contribute to understandings of contemporary issues.",
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"id": 1618,
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"title": "Rabelais, écrire en temps de basculement",
"content_html": "<p>As part of course FRA1102 - Introduction à l'humanisme, François Bon will present a lecture entitled “Rabelais, écrire en temps de basculement” on Tuesday, April 8, 2025 at 10 a.m. at the Université de Montréal's Département des littératures de langue française<strong> (pavillon Jean Brillant, local B-4270)</strong>. </p>\n<p>1532: in a Lyon printing house devoted to noble knowledge, a young doctor composes a collection of student pranks for the fairs, and links it to the old tradition of chronicles of giants, thus giving birth to Pantagruel. Then followed Gargantua, and, twelve years apart, the Tiers, then the Quart Livre. The concept of time? The conception of the body? The map of the world? The sky, night, religion, political power? Everything is in upheaval. Repression, wars, and no new certainty to compensate for the failure of ancient times. So, yes, literature: writing the mental leap itself, in a context of accelerated fixation of the French language, and the mutation enabled by the printing press. And as we think about the current digital transition of the written word, how can we not reopen these transitions themselves, relearn this language by confronting it with its invention, and with the world it transcribes?</p>\n<p>François Bon was born in 1953 in Vendée, in the very land of Rabelais. He published his first book in 1982, and set up his digital laboratory on the Internet in 1997. He was a visiting professor at UdeM in 2009-2010. His current work focuses via Rabelais, Balzac and Lovecraft, and through digital ecosystems combining video, printed books and field performances, on the superposition of these privileged peaks of transitions in literature.</p>\n<p>Visit his website <a href=\"https://www.tierslivre.net/\" target=\"_blank\" rel=\"noopener\">here</a>. </p>\n<p>No registration required, but places are limited! </p>",
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"description": "As part of course FRA1102 - Introduction à l'humanisme, François Bon will present the lecture “Rabelais, écrire en temps de basculement” at UdeM's Département des littératures de langue française.",
"location": "Université de Montréal, pavillon Jean Brillant, local B-4270 ",
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{
"slug": "text-models-workshop",
"date_start": "2025-03-25",
"date_end": null,
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"title": "Workshop on Textual Modeling Tuesday, March 25, 2025, at the University of Rouen Normandy",
"content_html": "<p>The Chair of Excellence in Digital Publishing at the University of Rouen Normandy and the Revue 3.0 Partnership at the University of Montreal are organizing a workday on Tuesday, March 25, 2025, throughout the day at the University of Rouen Normandy, and in the afternoon at the University of Montreal, focusing on textual modeling. The event will feature an introductory lecture by Marcello Vitali-Rosati and three workshops.</p>\n<h2>Practical Information</h2>\n<ul>\n<li><strong>Date & Time:</strong> Tuesday, March 25, 2025, from 9:45 AM to 6:00 PM (Paris time)</li>\n<li><strong>Location:</strong> University of Rouen Normandy, Council Room (3rd floor), Faculty of Letters and Humanities, Rue Lavoisier, Mont-Saint-Aignan</li>\n<li><strong>Remote Access:</strong> The workshops in the second part of the day can also be attended from Montreal: from 9:30 AM to 1:00 PM (Toronto time), Université de Montréal, Pavillon Lionel-Groulx, Room C-8132</li>\n<li><strong>Registration:</strong> Free but mandatory, subject to availability via this form: <a href=\"https://framaforms.org/inscription-a-la-journee-de-travail-sur-les-modelisations-textuelles-mardi-25-mars-2025-rouen\" target=\"_blank\" rel=\"noopener\">https://framaforms.org/inscription-a-la-journee-de-travail-sur-les-modelisations-textuelles-mardi-25-mars-2025-rouen</a></li>\n<li><a href=\"https://ceen.hypotheses.org/files/2025/02/ceen-rouen-programme-25-mars-2025-modelisations-textuelles.pdf\">Download the program in pdf format</a></li>\n</ul>\n<h3>What is a text?</h3>\n<p>This is a central question for the humanities. To read, understand, and interpret, we must first determine what a text is, or more precisely, what the specific text we are studying is. Paradoxically, this fundamental knowledge often remains implicit in the humanities. It seems to concern only the editorial dimension, perceived as a field of techniques and practices that we acknowledge as important but do not always systematically theorize. The concept of textual modeling aims to highlight the theoretical and hermeneutic aspect inherent in editorial practices. Modeling a text means developing a deep theoretical understanding, making this understanding explicit, formalizing it, and implementing it in a particular material form, whether digital or not.</p>\n<p>These knowledge practices are found not only in philological and literary fields but also in broader digital writing and publishing practices in academia, ranging from note-taking tools to modular and multi-modal publishing chains, as well as choices of specific textual formats. We propose to explore these textual modeling approaches during a day that includes an introductory theoretical lecture and three practical workshops.</p>\n<h3><strong>Event Coordination</strong></h3>\n<ul>\n<li><strong>Antoine Fauchié</strong>, Postdoctoral Researcher at the University of Rouen Normandy<br>Contact: <a href=\"mailto:antoine.fauchie@univ-rouen.fr\">antoine.fauchie@univ-rouen.fr</a></li>\n<li><strong>Giulia Ferretti</strong>, PhD Candidate at the University of Montreal & Coordinator of the Revue 3.0 Partnership<br>Contact: <a href=\"mailto:giulia.ferretti@umontreal.ca\">giulia.ferretti@umontreal.ca</a></li>\n</ul>\n<h3><strong>Scientific Responsibility</strong></h3>\n<ul>\n<li><strong>Tony Gheeraert</strong>, Professor at the University of Rouen Normandy & Scientific Director of the Chair of Excellence in Digital Publishing.</li>\n</ul>",
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{
"slug": "call-bricoler-rouen",
"date_start": "2025-03-11",
"date_end": "2025-04-10",
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"id": 1616,
"events_id": 808,
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"title": "Call for papers : Bricoler des éditions numériques. Pratiques, représentations et usages de la métaphore du bricolage",
"content_html": "<p>The Chaire d'Excellence en Édition Numérique team (CEREdI - Université de Rouen Normandie) is organizing a conference entitled <strong>“Bricoler des éditions numériques. Pratiques, représentations et usages de la métaphore du bricolage”</strong> on Monday June 30 and Tuesday July 1, 2025 at the Université de Rouen Normandie (Mont-Saint-Aignan campus), in partnership with the Canada Research Chair in Digital Textualities. </p>\n<p>The submission deadline is April 10, 2025.</p>\n<p>You will find the full proposition and all the information you need to submit your proposal at this <a href=\"https://www.fabula.org/actualites/documents/125715_41b40617631d30295c2d0d9801b82b6d.pdf\" target=\"_blank\" rel=\"noopener\">LINK</a>. </p>",
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"id": 1614,
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"title": "Diamond Open Access in Scholarly Publishing, report submited by Jean-Claude Guédon, was published on Revue3.0 website",
"content_html": "<p data-pm-slice=\"1 1 []\">Report submitted by Jean-Claude Guédon for review by the OPERAS advisory committee, aimed at progressing on the issue of governance for the diamond option, is available <a href=\"https://revue30.org/documents/report-infrastructural-approach/\" target=\"_blank\" rel=\"noopener\">on the Revue3.0 website</a>. </p>",
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{
"slug": "ai-webinar",
"date_start": "2025-02-27",
"date_end": "2025-02-27",
"time_start": "11:00:00",
"time_end": "12:00:00",
"event_type": "conference",
"id": 1610,
"events_id": 805,
"languages_code": "en",
"title": "AI Webinar with Marcello Vitali-Rosati",
"content_html": "<p>The groupe interdisciplinaire de recherche Intergestes will invite Marcello Vitali-Rosati online for the next webinar in its 2024-2025 cycle of scientific dialogues, with discussants Peppe Cavallari, Joël Colloc, and Béatrice Galinon-Mélénec.</p>\n<p data-start=\"240\" data-end=\"286\" data-is-last-node=\"\" data-is-only-node=\"\">Here is the title and the description of this talk:</p>\n<h2 data-start=\"240\" data-end=\"286\">\"Artificial Intelligences\"? Between Wonder and Contempt</h2>\n<p>On one side, there is immense astonishment: we are impressed by the capabilities of a language model, left speechless by a chatbot that answers our questions. On the other side, a form of disdain: \"Yes, I admit that a machine may be able to do this, but it will never be able to do X,\" as Turing put it in 1950.<br>Where does this dual reaction come from? What exactly impresses us? In what way do we still feel superior? My talk will attempt to offer an answer to these questions.</p>\n<p>Link to attend the online event: <a href=\"https://meet.jit.si/Intergestes2025webinaireVitaliRosati\" target=\"_blank\" rel=\"noopener\">https://meet.jit.si/Intergestes2025webinaireVitaliRosati</a></p>",
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