{"id":6964,"date":"2016-03-02T20:07:37","date_gmt":"2016-03-02T20:07:37","guid":{"rendered":"https:\/\/colecaolivrodeartista.wordpress.com\/?p=6964"},"modified":"2016-03-02T20:07:37","modified_gmt":"2016-03-02T20:07:37","slug":"encyclopedia-contemporary-art-in-the-world-with-www-google-comlanguage_tools-first-volume","status":"publish","type":"post","link":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/?p=6964","title":{"rendered":"Encyclopedia, Contemporary Art in the World with www.google.com\/language_tools First Volume"},"content":{"rendered":"

\"Jean-Benoit-Lallemant-Encyclopedia-\u2026\"<\/p>\n

Jean-Beno\u00eet Lallemant
\nEncyclopedia, contemporary art in the world, with www.google.com\/language_tools.<\/strong>
\nRennes, \u00c9ditions Incertain Sens, 2010.
\nOffset, p&b
\n[28] p.
\n30 x 42,5 cm
\n1.000 ex.
\nISBN: 2-914291-42-6.<\/p>\n

\"Jean-Benoit-Lallemant-Encyclopedia-\u2026-page-8-9\"<\/p>\n

L\u2019Encyclop\u00e9die<\/em> de Diderot et D\u2019Alembert du milieu du XVIIIe si\u00e8cle, dont la publication de Jean-Beno\u00eet Lallemant reprend la composition typographique, se proposait de r\u00e9unir la totalit\u00e9 de tous les savoirs de son \u00e9poque. En limitant son ambition aux savoirs que g\u00e9n\u00e8re l\u2019id\u00e9e d\u2019\u00ab\u00a0art contemporain\u00a0\u00bb, ENCYCLOPEDIA <\/em>propose de se repr\u00e9senter un tel projet \u00e0 l\u2019\u00e9poque de Google.<\/p>\n

En utilisant le site http:\/\/www.google.fr\/ language_tools, chaque domaine local (France\u00a0: \u00ab\u00a0.fr\u00a0\u00bb, Angleterre\u00a0: \u00ab\u00a0.uk\u00a0\u00bb, Allemagne\u00a0: \u00ab\u00a0.de\u00a0\u00bb, etc.) a fait l\u2019objet d\u2019une recherche avec Google. L\u2019expression \u00ab\u00a0art contemporain\u00a0\u00bb a ainsi \u00e9t\u00e9 traduite dans la langue officielle la plus parl\u00e9e dans le pays concern\u00e9 par la recherche. Puisque certains pays, tel l\u2019Iran, n\u2019ont pas de domaine sur Internet \u2013 pourtant Google permet d\u2019effectuer une traduction en Farci (la langue persane) \u2013, une recherche a alors \u00e9t\u00e9 men\u00e9e pour les six langues affili\u00e9es aux pays qui n\u2019ont pas de domaine. En troisi\u00e8me de couverture sont list\u00e9s les domaines n\u2019offrant pas la possibilit\u00e9 d\u2019une recherche sp\u00e9cifique, ainsi que les domaines pour lesquels il n\u2019y a pas de traduction possible avec l\u2019outil de traduction Google. Les neuf premi\u00e8res images affich\u00e9es par le moteur de recherche dans chaque domaine ont \u00e9t\u00e9 retenues pour la publication.<\/p>\n

\"Jean-Benoit-Lallemant-Encyclopedia-\u2026-Belarus\"<\/p>\n

Livr\u00e9es \u00e0 la logique de Google, ces images sans l\u00e9gendes ne sont plus que les images d\u2019elles-m\u00eames. L\u2019id\u00e9e de l\u2019encyclop\u00e9die, qui fonde le projet de Jean-Beno\u00eet Lallemant, permet du moins d\u2019entrevoir les limites d\u2019une connaissance dont Internet est l\u2019outil\u00a0: les images se substituent aux concepts, l\u2019ordre d\u2019apparition des r\u00e9ponses de Google d\u00e9pend du nombre de visites de chacune d\u2019entre elles, le r\u00e9sultat n\u2019est donc plus le m\u00eame d\u2019un jour \u00e0 l\u2019autre, etc. La d\u00e9finition des concepts n\u2019est alors plus possible, car le moteur de recherche ne r\u00e9pond<\/em> pas \u00e0 la demande, mais impose<\/em> une image de l\u2019art contemporain, l\u2019encyclop\u00e9die devient donc un p\u00e9riodique \u00e0 remettre continuellement \u00e0 jour.<\/p>\n

Internet, dont Google est un des principaux outils, promet un regard sur l’ensemble du monde et des savoirs, mais n\u2019offre peut-\u00eatre qu\u2019une mondialisation\u00a0: l\u2019occidentalisation de toutes les formes culturelles.<\/p>\n

\"ency\"\"ency1\"\"ency2\"\"ency3\"<\/p>\n

http:\/\/www.jeanbenoitlallemant.com\/works\/2010\/encyclopedia\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Jean-Beno\u00eet Lallemant Encyclopedia, contemporary art in the world, with www.google.com\/language_tools. Rennes, \u00c9ditions Incertain Sens, 2010. Offset, p&b [28] p. 30 x 42,5 cm 1.000 ex. ISBN: 2-914291-42-6. L\u2019Encyclop\u00e9die de Diderot et D\u2019Alembert du milieu du XVIIIe si\u00e8cle, dont la publication … Continue lendo →<\/span><\/a><\/p>\n","protected":false},"author":10,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[73,58],"tags":[420],"class_list":["post-6964","post","type-post","status-publish","format-standard","hentry","category-enciclopedia","category-sobre-arte-contemporanea","tag-incertain-sens"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts\/6964","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6964"}],"version-history":[{"count":0,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts\/6964\/revisions"}],"wp:attachment":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6964"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6964"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}