Cut/generate
Couper/générer
Montage and artificial intelligence
Le montage à l’épreuve de l’intelligence artificielle
Published on Wednesday, April 09, 2025
Abstract
The proliferation of machine vision systems and generative artificial intelligence (AI) models has recently transformed part of our visual culture, giving rise to new typologies of moving images that require us to re-examine certain key concepts. This international conference will explore the implications of AI algorithms and models on the concept and practice of montage, questioning its historical theories, analysis and gestures, as well as its forms and techniques in the field of generative images.
Announcement
International conference
Université Sorbonne Nouvelle (IRCAV, LIRA, IUF, La Fémis)
Presentation
The proliferation of machine vision systems and generative AI models has recently transformed part of our visual culture, giving rise to new typologies of moving images that require us to re-examine certain key concepts. Organised by the LIRA (Laboratoire International de Recherches en Art) and the IRCAV (Institut de Recherche sur le Cinéma et l’Audiovisuel) at Université Sorbonne Nouvelle, with the contribution of the IUF (Institut Universitaire de France) and La Fémis (Fondation européenne des métiers de l’image et du son), this international conference will explore the implications of AI algorithms and models on the concept and practice of montage, questioning its historical theories, analysis and gestures, as well as its forms and techniques in the field of generative images.
Since the early 2010s, the development of machine vision systems and generative AI models across the entire spectrum of visual culture has had, among its effects, the emergence of new typologies of moving images. On the one hand, artists using video and multimedia installations to analyse the challenges posed by machine vision have explored various ways of exposing the algorithmic, non-human gaze of these systems, as well as arranging vast quantities of images coming from their training datasets. On the other hand, artists using generative AI models to generate videos (from GANs to the most recent text-to-video and image-to-video diffusion models) are also facing further challenges posed by techniques for producing and modifying moving images that are radically different from the previous ones, notably because of the role played by written prompts and the possibilities opened by exploring the latent spaces specific to each model. In both cases, a new generation of moving images has emerged and now requires to be analysed, whether through new notions arising from the encounter between art and AI (latent space, hallucinations, alignment, etc.), or through key historical concepts rooted in the theories of cinema, video and moving images in general, including that of montage, which will be the focus of this conference.
Is it still relevant to use the concept of montage to analyse moving images produced with the assistance of machine vision or generative AI systems? To what extent do its various theorizations (from the late 1910s to the present day) enable us to situate these new images in the long history and genealogy of moving images? How have the development of AI and the integration of its tools in the field of audio-visual production modified the practice of editing? This conference overall aims to shed light on the issues surrounding a concept that is sometimes taken for granted, despite the technical, cultural, semantic, and aesthetic mutations that are constantly redefining its contours.
Organising committee
- Violaine Boutet de Monvel (Researcher – LIRA, Université Sorbonne Nouvelle)
- Térésa Faucon (Associate Professor – IRCAV, Université Sorbonne Nouvelle)
- Corentin Lê (Researcher – IRCAV, Université Sorbonne Nouvelle)
- Antonio Somaini (Professor – LIRA, Université Sorbonne Nouvelle)
Programme
Thursday April 24
(Conseil conference room)
8.30 am Opening and welcoming
- 9 am Introduction (Antonio Somaini & Térésa Faucon)
9.45 am Constellations and hallucinations
moderator: Térésa Faucon
- Vincent Jacques (ENSA Versailles) – Filmer au subjonctif grâce à l’IA : le montage du « livre sphérique » d’Alexander Kluge
- Marie Rebecchi (Université Aix-Marseille) – Montage et hallucination de l’IA : Les Machines délirantes de Maria Guta et Lauren Huret
11.15 am Coffee break
11.30 am Atomic montage
(moderator: Violaine Boutet de Monvel)
- Yves Citton (Université Paris 8) – L’atomisation du montage dans Haven de GrégoryChatonsky
- Grégory Chatonsky (artist) – Le tempo des possibles v. 2 (de l’espace latent)
1 pm Lunch
2.30 pm The generative machine
(moderator: Antonio Somaini)
- Santiago Bonilla (Harvard University) – Haptic Feedback
- Thotti (Harvard University) – Latent Slots: The Machine Dreams of Montage
4 pm Coffee break
4.15 pm Archives, mutations, apparitions
(moderator: Corentin Lê)
- Gwenola Wagon (Université Paris 1 Panthéon-Sorbonne) and Pierre Cassou-Noguès (Université Paris 8, IUF) – Le vol de la lumière et autres anarchives
- Ismaël Joffroy Chandoutis (artist, filmmaker) – Du travelling des idées aux mondes simulés
- Angelika Lepper (monteuse, artiste) – Parallel Montages, Colliding Latent Spaces: Can Machines Edit Meaning ?
8-10 pm Screening and discussion (ENS, 45 Rue d’Ulm, salle Dussane)
Friday April 25
(Athéna conference room)
9.30 am Generative montage theory
moderator: Violaine Boutet de Monvel
- Roland Meyer (University of Zurich) – Worlds in Flow: Synthetic Cameras, Navigable Images and the Aesthetics of AI Video
- Barnabé Sauvage (CNRS) – Du montage intellectuel au « cinéma de la chaîne de montage » : penser le cinéma génératif à partir d’Eisenstein
11 am Coffee break
11.30 am Perceptions and speculations
(moderator: Antonio Somaini)
- Jasmin Pfefferkorn (University of Melbourne) and Emilie L. Sunde (University of Melbourne) – Mutable and multi-dimensional montage: Ecologies of perception in Huyghe’s Variants
- Zabet Patterson (Stony Brook University) – Liminal: The Inhuman Worlds of Pierre Huyghe
1 pm Lunch
2.30 pm Narrative montage and montage of attractions
(moderator: Corentin Lê)
- Lein de León Yong (Arizona State University) – Machine Vision and the Birth of Narrative Cinema
- Prudence Castelot (artist, filmaker) and Adrien Chuttarsing (artist, engineer) – Intelligence artificielle et montage dialectique : une approche computationnelle du montage d’attractions
4 pm Coffee break
4.30 pm Aglorithmic analysis of editing
(moderator: Térésa Faucon)
- Elianne Ivo-Barroso (Univesidade Federal Fluminense) – Comment l’IA aide à analyser un style de montage : le profil du monteur brésilien Máximo de Barro
- Laurence Allard (Université de Lille) and Charles Ménard (Université Sorbonne Nouvelle) – Anatomie d’un montage sous l’orage : le scalpel algorithmique au service des études visuelles - le cas de l’outil PySceneDetect
6.30 pm Cocktail
Saturday April 26
(Athéna conference room)
9.30 am Archeology and genealogy of montage
(moderator: Térésa Faucon)
- André Gaudreault et Marie-Odile Demay (Université de Montréal) – L’IA à l’épreuve du montage
- Anna Kolesnikov et Tanzia Mobarak (Université de Montréal) – Neither Man, Nor Movie Camera : Vertovian kino-pravda meets Duranceau’s pastiche
11 am Coffee break
11.30 am New editing practices
(moderator: Antonio Somaini)
- Sergey Kalvarsky and Andrey Natotsinsky (filmmakers and editors) – The First Law of Motion
1 pm Lunch
2.30 pm Origins and future of generative montage
(moderator: Corentin Lê)
- Max Bonhomme (Université de Strasbourg) – Du photomontage à l’imagerie générative : ruptures techniques, persistances théoriques
- Libertad Gills (University of Leeds) – The AI Effect: (Dis)continuity, Faces, and AI
- Jens Schröter (University of Bonn) – Condensation-Montage and the Collective Unconscious
4.30 pm Coffee break
5 pm Montage, AI and audiovisual essays
(moderator: Violaine Boutet de Monvel)
- Johannes Binotto (Lucerne University of Applied Sciences and Arts) – Melting Montage: Generative AI as Video Essay Practice (and vice versa)
- Evelyn Kreutzer (Università della Svizzera italiana) – All the Memory of Artificial Intelligence
- Mark Amerika (University of Colorado) and Will Luers (Washington State University) – Posthuman Cinema: Polyvalent Montage, Machinic Intervals and the CosmotechnicalComposer
Access online
Subjects
- Modern (Main category)
- Periods > Modern > Twenty-first century
- Mind and language > Representation > Visual studies
- Periods > Modern > Prospective
Places
- Université Sorbonne Nouvelle, Maison de la recherche - 4 rue des Irlandais
Paris, France (75005)
Event attendance modalities
Hybrid event (on site and online)
Date(s)
- Thursday, April 24, 2025
- Friday, April 25, 2025
- Saturday, April 26, 2025
Keywords
- intelligence artificielle, montage, cinéma, vidéo, art
Information source
- Violaine Boutet de Monvel
courriel : violaine [dot] boutet-de-monvel [at] sorbonne-nouvelle [dot] fr
License
This announcement is licensed under the terms of Creative Commons CC0 1.0 Universal.
To cite this announcement
« Cut/generate », Conference, symposium, Calenda, Published on Wednesday, April 09, 2025, https://doi.org/10.58079/13pv2
