{"id":10,"date":"2017-01-05T16:48:46","date_gmt":"2017-01-05T15:48:46","guid":{"rendered":"http:\/\/jeanarnaud.fr\/?page_id=10"},"modified":"2025-01-28T14:29:01","modified_gmt":"2025-01-28T13:29:01","slug":"ecrits-bibliographie","status":"publish","type":"page","link":"https:\/\/jeanarnaud.fr\/index.php\/ecrits-bibliographie\/","title":{"rendered":"\u00e9crits"},"content":{"rendered":"\n

2024<\/span> \/\/<\/span><\/span><\/span><\/span><\/p>\n\n\n\n

Visages et nuage. Ellipse + Face = Blank, ou l’exp\u00e9rience de l’\u0153uvre vivante \u00e0 l’\u00e8re du num\u00e9rique<\/a><\/em> (revue Turbulence # 1<\/a>)<\/p>\n\n\n\n

2024<\/span> \/\/<\/span><\/span><\/p>\n\n\n\n

Road Trees<\/em> <\/a>(revue La Part de l’\u0153il 38)<\/span><\/p>\n\n\n\n

2022<\/span> \/\/<\/span><\/span><\/p>\n\n\n\n

Confused Forces: The Tree, Living Memory in Twenty-first Century Art<\/em><\/span><\/a><\/p>\n\n\n\n

2021<\/span> \/\/<\/span><\/span>
Biomorphisme<\/i> – Approches sensibles et conceptuelles des formes du vivant<\/i><\/span><\/a>
Le composite comme outil critique<\/span><\/em><\/a><\/span>
Improbables gen\u00e8ses<\/span><\/a><\/em><\/span>
Sauver sa peau – <\/i>Naturalisation et repr\u00e9sentation animale<\/i><\/span>
L\u2019artiste et la dynamique du vivant<\/em><\/a> <\/span><\/p>\n\n\n\n

2020<\/span> \/\/<\/span><\/span>
Le r\u00eave et la raison – Cr\u00e9ation artistique, recherche et doctorat<\/span><\/em><\/a><\/span>
Sid\u00e9ration<\/em><\/span><\/p>\n\n\n\n

2019 \/\/<\/span><\/span><\/span>
Images en tr@nsit – Territoires et m\u00e9diums<\/em> <\/span>
Touching to see<\/em> (2nd<\/sup> version) <\/span>
Du poulpe \u00e0 la pieuvre (J. Arnaud \/ V; Biaggi)<\/em><\/a><\/span>
Biomorphisme (J. Arnaud \/ A. De Beauffort \/ J. Bernard)<\/em><\/a><\/span><\/p>\n\n\n\n

2018\u00a0\/\/<\/span><\/span><\/span>
I<\/em>nterf\u00e9rences<\/em> – Cr\u00e9ation artistique comme recherche et recherche universitaire<\/em><\/span><\/a>\u00a0<\/em><\/span><\/p>\n\n\n\n

2017 \/\/
<\/span>Espaces d\u2019interf\u00e9rences narratives<\/a><\/em>
Cr\u00e9ation artistique comme recherche<\/a><\/em><\/span><\/span><\/p>\n\n\n\n

2016 \/\/<\/span><\/span><\/span>
Argumentaire scientifique : Biomorphisme. Approches sensibles et conceptuelles des formes du vivant <\/span><\/em><\/span>
Usure et r\u00e9paration<\/a><\/em> <\/span><\/span><\/p>\n\n\n\n

2015<\/span> \/\/<\/span><\/span>
Le dessin satur\u00e9 \u2013 R\u00e9flexions sur quelques \u0153uvres graphiques contemporaines (Ghada Amer, Pierre Bismuth, Julie Mehretu)<\/em><\/span>
Document, fiction et droit en art contemporain<\/a><\/em><\/span>
La figure \u00e0 l’\u0153uvre<\/a><\/em><\/span><\/p>\n\n\n\n

2014 \/\/<\/span>
L\u2019espace feuillet\u00e9<\/a><\/em>
<\/a>Animal et strat\u00e9gies furtives<\/em>
<\/a>M\u00e9tamorphoses du voile \u00e9cran<\/em>
<\/a>Brume et paradoxes du flou<\/em>
<\/a>Le dessin satur\u00e9<\/a><\/em>
Aveuglements<\/a><\/em><\/span><\/p>\n\n\n\n

2011 \/\/<\/span>
Archa\u00efsme animal<\/a> <\/em><\/span><\/p>\n\n\n\n

2010 \/\/<\/span>
Ici, l\u00e0-bas<\/a><\/em><\/span><\/p>\n\n\n\n

2009 \/\/<\/span>
L’\u0153uvre nu\u00e9e<\/a><\/em> <\/span><\/p>\n\n\n\n

2008 \/\/<\/span>
Troubles de l\u2019air<\/a><\/em>
Quelque chose de l\u2019\u00e9tat du monde<\/em>
<\/a>Les v\u00eatements de l’histoire<\/a><\/em><\/span><\/p>\n\n\n\n

2007 \/\/<\/span>
Strat\u00e9gies de la pieuvre<\/a><\/em>
La densit\u00e9 du vide<\/a><\/em><\/span><\/p>\n\n\n\n

2005 \/\/<\/span>
Toucher pour voir<\/a> \/ Touching to see<\/a><\/em>
Caramba! Encore rat\u00e9<\/a><\/em><\/span><\/p>\n\n\n\n

2004 \/\/<\/span>
Entrelacs et ruses de la pieuvre<\/a><\/em>
Quelle heure est-il \u00e0 l’infini ?<\/a><\/em><\/span><\/p>\n\n\n\n

1995 \/\/<\/span>
Poulpes Seiches Calmars – Mythes et Gastronomie<\/a><\/em> <\/span><\/p>\n\n\n\n

 <\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

2024 \/\/ Visages et nuage. Ellipse + Face = Blank, ou l’exp\u00e9rience de l’\u0153uvre vivante \u00e0 l’\u00e8re du num\u00e9rique (revue Turbulence # 1) 2024 \/\/ Road Trees (revue La Part de l’\u0153il 38) 2022 \/\/ Confused Forces: The Tree, Living Memory in Twenty-first Century Art 2021 \/\/Biomorphisme – Approches sensibles et conceptuelles des formes du vivantLe composite comme outil critiqueImprobables gen\u00e8sesSauver […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-10","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P8lpGt-a","_links":{"self":[{"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/pages\/10","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/comments?post=10"}],"version-history":[{"count":45,"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/pages\/10\/revisions"}],"predecessor-version":[{"id":2215,"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/pages\/10\/revisions\/2215"}],"wp:attachment":[{"href":"https:\/\/jeanarnaud.fr\/index.php\/wp-json\/wp\/v2\/media?parent=10"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}