Des algorithmes comme actants interactionnels : formes organisationnelles et normes techniques dans le contexte des nouveaux médias

International audienceThe question of the organization usually refers to two sets of issues articulated to one another. The first refers to organizing as a process of building order and meaning through action and interaction (Quéré, 1991). The second refers to the analysis of the organization as a set of ordered and structured activities closed on themselves. The emergence of new media seems to impact both acceptance of organizing and organization and the way they are articulated. Not only because action and interaction seem to be more and more shared with these new devices, but also and above all, because through them is performed a dislocation of the organizing process and of the organization itself. In this paper, we would particularly focus our attention on platforms through which the traces left - voluntarily or not - by actors in the digital space are analyzed and compiled for composing "texts" guiding the actions of other actors. If these logics are now mobilized in a growing number of apparatuses - search engines, recommendation engines, trading software, etc.. - we will focus more specifically in this paper on the analysis of Google by offering us to answer the question: with what / who interacts actor - and possibly an organization through him - when it makes use of Google? And under what specific logic does he share its action with other actants?We would like to propose here a perspective of analysis to understand the hybrid nature of these new apparatus noticing that they are the result of an artifactual organization of communication through algorithms. To this end, we present a communicational approach of these new media and forms of organization on a pragmatic (Austin, 1991) (Searle, 2008) of distributed and dis-local conversational interactions (Cooren, 2010) taking into account the performative and organizational ability of algorithmic actants. In this context, we consider therefore that the use of Google or production of a hyperlink later analyzed by the PageRank algorithm (Page, Brin, Motwani &, 1999) can be analyzed as a sequence of interaction always -already underway with all contributors and users of the web. We will therefore adopt a symmetrical anthropological perspective to account for the role of algorithmic actants in the organization of these interactions. This approach invites us to question the notions of context, action and organization in the context of distributed and dis-local interactions in heterogeneous networks combining algorithmic actants and human actants. We will examine more precisely the organizing dimension of this process, and the forms of "spontaneous" order resulting from these uncoordinated and unintentional interactions. We question theories of organizing communication (J. Taylor, 2000) (JR Taylor & Van Every, 2010), (Cooren, JR Taylor & Van Every, 2006) in their contributions - dynamics of conversation and text - and their limitations. While these approches presuppose actors to intentionally produce a community of action before the process of organizing itself, we show that it is possible to identify in these networks of heterogeneous organizational actants phenomena that are not intentionally projected by any actors. We therefore examine the tensions between the logics of artefactually crystallized organization and forms of "spontaneous" communication deployed within it. This will lead us to tackle the question of intentionality and norm in the construction of these new organizational phenomena.Finally we will conclude by formulating some thoughts about what the use of these apparatuses involves concerning the nature of actants with which the organization shares its action and the nature of the ties that bind it to other social actors. To this end, we will consider the entry points that our approach could provide on the issue of real subsumption and interactional processes in the context of cognitive capitalism (Paulré, 2004) (Vercellone, 2003) ( Moulier Boutang, 2008), (Moulier Boutang, 2010), (Hardt & Negri, 2004) (Hardt & Negri, 2006). We'll sketch a reproblematization of the Marxian concept of "general intellect" so that it no longer refers to "knowledge" in general - as understood by most common interpretations (Virno , 1992) - but more as a movement of socialization, externalization (Stiegler, 1994) and dis-location of communication, organizing and coordination processes (Le Moënne, 2004) in which the normative question - technical, organizational and communicational - is central.La question de l'organisation se rapporte usuellement à deux grands ensembles de problématiques s'articulant l'un à l'autre. Le premier se réfère à l'organisation en tant que processus de construction de l'ordre et du sens dans l'action et l'interaction (Quéré, 1991). Le second renvoie à l'analyse de l'organisation en tant qu'ensemble ordonné et structuré d'activités closes sur elles-mêmes. L'émergence des nouveaux médias semble aujourd'hui impacter ces deux acceptations de la notion d'organisation et les modalités de leur articulation. Non seulement parce que l'action et l'interaction semblent toujours plus devoir être partagées avec ces nouveaux dispositifs, mais aussi, et surtout, parce s'opère à travers eux une dis-location progressive des processus organisants et de l'organisation elle-même - en tant que " totalité " structurée. Dans cette communication, nous souhaiterions plus particulièrement porter notre attention sur les multiples plateformes par l'intermédiaire desquelles les traces que laissent - volontairement ou non - les acteurs dans l'espace numérique se trouve analysées et rassemblées pour composer des " textes " singuliers visant à guider l'action d'autres acteurs. Si ces logiques se trouvent aujourd'hui mobilisées dans un nombre croissant de dispositifs - moteurs de recherche, moteurs de recommandation, logiciels de trading, etc. - nous nous concentrerons plus précisément dans cette communication sur l'analyse de Google en nous proposant de répondre à la question : avec quoi/qui interagit un acteur - et éventuellement une organisation à travers lui - lorsqu'il fait usage de Google ? Et selon quelles logiques spécifiques partage-t-il alors son action avec d'autres actants ?Nous souhaiterions proposer ici une perspective d'analyse permettant d'appréhender le caractère hybride de ces nouveaux dispositifs en prenant acte de ce qu'ils résultent d'une forme d'organisation artefactuelle de la communication visant à en régler l'économie interne à partir d'algorithmes. A cette fin, nous présenterons une approche communicationnelle de ces nouveaux médias et des formes d'organisation qu'ils contribuent à produire se fondant sur une pragmatique (Austin, 1991), (Searle, 2008) des interactions conversationnelles distribuées et dis-loquées (Cooren, 2010) intégrant l'analyse des capacités performatives et organisationnelles des actants algorithmiques. Dans cette perspective, nous considérerons donc que l'usage de Google ou la production d'un lien hypertexte ultérieurement analysé par l'algorithme PageRank (Page, Brin, & Motwani, 1999) peuvent être analysés en tant que séquence d'une interaction toujours-déjà en cours avec l'ensemble des contributeurs et des usagers du web. Nous adopterons ainsi une perspective anthropologique symétrique radicalisée visant à rendre compte du rôle que jouent les actants algorithmiques dans l'organisation de ces interactions. Cette approche nous invitera à questionner les notions de contexte, d'action et d'organisation dans le cadre d'interactions distribuées et dis-loquées au sein de réseaux hétérogènes mêlant actants humains et actants algorithmiques. Nous nous interrogerons plus précisément sur la dimension organisante de ces agencements, et sur les formes d'ordre " spontané " qui résultent de ces interactions distribuées non concertées et non intentionnellement coordonnées. Nous questionnerons ainsi les théories de la communication organisante (J. Taylor, 2000), (J. R. Taylor & Van Every, 2010), (Cooren, J. R. Taylor, & Van Every, 2006) dans leurs apports - dynamique de la conversation et du texte - et dans leurs limites. Tandis que celles-ci prennent pour modèle des situations présupposants des acteurs visant intentionnellement la production d'une communauté d'action et dans lesquelles cette intention précède le processus d'organisation lui-même et le conditionne, nous montrerons qu'il est possible d'identifier dans ces réseaux d'actants hétérogènes des phénomènes d'organisation qui ne sont pourtant intentionnellement visés par aucun acteur. Il s'agira donc d'interroger les tensions entre les logiques d'organisation artefactuelles cristallisées par ces dispositifs et les formes de communication " spontanée " qui s'y déploient. Ces questionnements nous amèneront ainsi à interroger la place de l'intentionnalité et de la norme dans la construction de ces nouveaux phénomènes organisationnels et des interactions qui le composent.Nous conclurons enfin par la formulation de quelques réflexions quant à ce que l'usage de ces dispositifs implique sur la nature des actants avec lesquels l'organisation partage son action et sur la nature des liens qui la lient alors aux autres acteurs sociaux. Dans cette optique, nous nous interrogerons notamment les points d'entrée que notre approche pourrait fournir quant à la question de la subsomption réelle des processus interactionnels et organisants dans le contexte du capitalisme cognitif (Paulré, 2004), (Vercellone, 2003), (Moulier Boutang, 2008), (Moulier Boutang, 2010), (Negri & Hardt, 2004), (Negri & Hardt, 2006). Nous esquisserons ainsi une possibilité de reproblématisation du concept marxien de " general intellect ", de tel sorte que celui-ci ne désigne plus tant le " savoir " et la " connaissance " en général - comme l'entendent les interprétations les plus répandues (Virno, 1992) - qu'un mouvement de socialisation, d'extériorisation (Stiegler, 1994) et de dis-location des processus communicationnels d'organisation et de coordination (Le Moënne, 2004) dans lesquels la question normative - technique, communicationnelle et organisationnelle - occupe une place centrale

Animações e mediações socioculturais: complementaridades teórico-práticas

Este artigo surge na sequência de uma comunicação apresentada no seminário internacional – Entre a teoria, os dados e o conhecimento: Investigar práticas em contexto –, que decorreu na Escola Superior de Educação (ESE) do Instituto Politécnico de Setúbal, em outubro de 2014. O convite que me foi feito visava uma comunicação focada nas teorias e práticas da animação sociocultural, ao qual tive o prazer de responder afirmativamente. Importa contextualizar porque uma das formações que a ESE oferece é a da Licenciatura em Animação e Intervenção Sociocultural. À partilha da minha experiência académica1 e prática da animação sociocultural decidi juntar a análise da mediação cultural por estarem intimamente conectadas nos terrenos de ação e porque o tema central do meu doutoramento é o estudo comparativo das mediações culturais no ensino da música em contextos socioculturalmente desfavorecidos em Portugal, no Brasil e na Venezuela. A comunicação original foi pensada para um público de estudantes do curso de Animação e Intervenção Sociocultural mas neste artigo abro a reflexão a novos públicos partindo do princípio que todos podemos ser animadores e mediadores socioculturais: por estarmos em sociedade influímos nas mediações que surgem ao animar-se a vida em coletivo.Proponho começar por analisar as origens da animação sociocultural, contextualizando as suas práticas no tempo, no espaço e em função dos públicos-alvo. Passarei depois às definições possíveis da mediação cultural, conceito polissémico tanto na teoria como na prática. Numa segunda fase tentarei exemplificar a complexidade dos trabalhos de animação e mediação socioculturais a duas escalas: macro – correspondente aos aspetos institucionais; e micro – relativo aos aspetos mais interpessoais entre o animador/mediador e os seus públicos. Para terminar, no momento em que escrevo esta proposta de artigo faz duas semanas que aconteceram os atentados de Janeiro 2015 em França. Proponho concluir o artigo inserindo este acontecimento trágico e revelador de problemas socioculturais profundos, sobre os quais os animadores e mediadores podem influir de forma preventiva. Tentaremos entender qual o papel e a responsabilidade dos animadores socioculturais no sentido de prevenir a ocorrência de profundas “frustrações” nos jovens que crescem em meios familiares e sociais extremamente debilitados. Por fim importa falar do pós-tragédia, do futuro, da relevância fulcral que têm os professores, animadores e mediadores na criação de condições básicas para ser-se um cidadão emancipado no seu meio local e global. Permitam-me que faça três salvaguardas: escrevo este artigo baseado na minha experiência profissional de animador sociocultural e de mediador cultural mas também baseado nas minhas investigações de doutoramento; tomarei assumidamente uma postura de defesa dos trabalhos de animação e mediação, partindo das ações mais explícitas mas insistindo no implícito pela subtileza dos aspetos simbólicos; por fim, sendo de origem francesa vou servir-me da realidade no país que melhor conheço, a França, que serve aqui de ponto de partida para uma reflexão possível de adaptar a outros território

teaching and learning of symphonic music in Santa Rosa de Agua, Venezuela

UIDB/04647/2020 UIDP/04647/2020Based on an ethnographic investigation carried out in 2015 within El Sistema, a Venezuelan program for teaching symphonic music, this article is a pragmatic analysis (Dewey, 2010) of what it is to teach and learn music in this context. The results reveal concrete social interactions between students and teachers, specific to the symphonic context. Data analysis is based on the concept of ‘attachment’ (Hennion, 2004) to what is familiar and comforting, and the concept of ‘defamiliarization’ (Shklovsky, 2008) in view of what is strange and unfamiliar. Paradoxically, these two conceptualizations are simultaneously interdependent and in constant tension. Contrasts are experienced every day, which can strengthen social cohesion and the continuation of music schools.publishersversionpublishe

Critères de raffinement pour le chaos polynomial multi-éléments. Application au pompage énergétique acoustique

National audienceCet article propose différentes solutions pour créer une partition adaptative de l'espace stochastique dans le cadre du chaos polynomial multi-éléments. Deux méthodes sont proposées et com-parées en termes de précision et de rapidité à la méthode utilisée classiquement. Le chaos polynomial multi-éléments est ensuite appliqué à un problème de pompage acoustique et l'influence de paramètres incertains sur le déclenchement du pompage est étudiée. Mots clés — chaos polynomial, MEgPC, pompage énergétique

Development of error criteria for adaptive multi-element polynomial chaos approaches

International audienceThis paper presents and compares different methodologies to create an adaptive stochastic space partitioning in polynomial chaos applications which use a multi-element approach. To implement adaptive partitioning, Wan and Karniadakis first developed a criterion based on the relative error in local variance. We propose here two different error criteria: one based on the residual error and the other on the local variance discontinuity created by partitioning. The methods are applied to classical differential equations with long-term integration difficulties, including the Kraichnan–Orszag three-mode problem, and to simple linear and nonlinear mechanical systems whose stochastic dynamic responses are investigated. The efficiency and robustness of the approaches are investigated by comparison with Monte-Carlo simulations. For the different examples considered, they show significantly better convergence characteristics than the original error criterion used

The Online Communication of Art-Based Education Organisations Working with Underage Refugees and Migrants in Europe

UIDB/00472/2020 UIDP/00472/2020 EXPL/SOC-SOC/0504/2021Communication is one of the critical issues organisations working with migrants and refugees in Europe must face. Our research question is how do art-based education organisations’ projects working with underage migrants and refugees communicate online? There is a gap concerning three key discursive approaches that we wish to tackle when communicating about these populations: miserabilism, even-image, and gender-neutrality. We propose to analyse them by focusing the research on a case study of two music organisations in two different European countries – the Swedish Dream Orchestra and El Sistema Greece. Through a multimodal critical discourse analysis of their digital communication, the results show that both organisations use their multicultural contexts as an asset to persuade people to join the orchestra (as volunteers, as teachers) and to make donations. However, they do not present intercultural and transcultural alternative approaches. These findings are important to question the choices made when communicating about such ethically and emotionally-charged social phenomenon as the social inclusion of underage migrants and refugees through art-based educational projects in Europe.publishersversionpublishe

Illustrating Everyday Life at El Sistema Greece

EXPL/SOC-SOC/0504/2021 CEECIND/00658/2018 EXPL/SOC-SOC/0504/2021YouSound is a social science research project that studies symphonic music education organizations centred on the inclusion of minor migrants and refugees in Europe. We have chosen two organizations in different countries to serve as case studies: the Dream Orchestra in Sweden, and El Sistema Greece. In 2022 and 2023, we are visiting both countries, applying ethnographic methods to better grasp the complexity of interactions between multicultural human beings in these music education contexts. The first two YouSound Zines were a result of visits to the Dream Orchestra in Gothenburg, Sweden. The next two editions cover the El Sistema Greece program in Athens. The ethnographic illustrator, Beatriz Machado, and I spent a month and a half following the music education work that is being done with minor migrants, refugees and Greeks. El Sistema Greece, founded in 2016, was conceived as an artistic educational tool, contributing to the education and social inclusion of migrant youth in Greece. The program has been working intensively in several of Athens’ refugee camps, as well as in schools in some of its most multicultural neighbourhoods. Please visit their website, www.elsistema.gr, for more information. Beatriz Machado applies her illustration skills to capture some of the actions, movements, pedagogical tools and emotions occurring daily in these particular music education spheres. The illustrations are accompanied by her own words, creating a graphic diary of what was lived collectively by students, teachers, parents and administrators at El Sistema Greece. We thank them for the moments we shared and hope you enjoy discovering these drawings and thoughts!publishersversionpublishe

Stabilité des systèmes incertains via une méthode MEgPC et développements - application à un modèle éléments finis de frein

National audienceLa difficulté à caractériser finement certains organes pousse à introduire dans les modèles une forme de méconnaissance à leur sujet. Cette incertitude peut être introduite et traduite de différentes façons. Nous avons choisi ici une approche stochastique, reposant sur l'introduction de variables aléatoires pour représenter l'incertitude liée à des paramètres choisis du système. Le système cible est un couple disque-plaquette de frein dont on cherche à étudier le crissement pouvant apparaître lors du couplage de deux modes et une perte de stabilité. Pour repérer ces plages de fonctionnement instable pouvant donner lieu à des vibrations auto-entretenues (crissement), il faut étudier le système aux valeurs propres tangent à l'équilibre. C'est ainsi un problème aux valeurs propres stochastique que l'on se propose de résoudre ici. La démarche s'appuie sur une décomposition sur le chaos polynomial pour traduire la dispersion des éléments propres ainsi qu'une partition de l'espace stochastique (famille des méthodes MEgPC). Trois développements sont proposés pour rendre plus efficace la méthode : une sélection des modes propres déterministes utilisés pour représenter les modes stochastiques, un critère de qualité de l'approximation polynomiale pour chaque élément de la partition basé sur le coefficient de Rayleigh et enfin, une construction dynamique de la partition empruntant des principes aux méthodes de continuation. La propagation d'une incertitude relative au coefficient de frottement entre le disque et la plaquette sera présentée. Ce paramètre est en effet difficile à caractériser dans l'environnement de fonctionnement et au cours de la vie d'un frein alors qu'il est à l'origine même du phénomène engendrant les vibration auto-entretenues

Illustrating musical ethnographic notes

EXPL/SOC-SOC/0504/2021 CEECIND/00658/2018 EXPL/SOC-SOC/0504/2021YouSound is a social science research project that studies symphonic music education organizations centred on the inclusion of minor migrants and refugees in Europe. We have chosen two organizations in different countriesvto serve as case studies: the Dream Orchestra in Sweden, and El Sistema Greece. In 2022 and 2023, we are visiting both countries, applying ethnographic methods to better grasp the complexity of interactions between multicultural human beings in these music education contexts. We have chosen two organizations in different countries, serving as case studies: the Swedish Dream Orchestra; and El Sistema Greece. Between 2022 and 2023, we will be in both countries applying ethnographic methods to better grasp the complexity of interactions between multicultural human beings in such music education contexts. This specific research project demands something more than the “solo ethnographer” in the field. Complementing the work of the ethnographer who uses a set of qualitative methods to interpret everyday life in a given context, we benefit from the presence of Beatriz Machado, a graphic ethnographer, whose eyes might perceive social reality from a different angle (Cabau, Almeida, Mapril 2018). Moreover, we have attempted to approach fieldwork by using art-based research methods (Leavy 2015, Lenette 2019, Pink 2015), namely music and illustration. Both art forms also serve as complementary tools of expression for the social actors involved in the programs (teachers, students, parents…). Two YouSound Zines will be published about each fieldwork in Sweden and Greece. Adding to classical outputs (articles, books, communications) the Zines share some of the graphic illustrations made by Beatriz Machado in each country. One of the purposes is to give back and communicate with all the underaged students, the parents, the teachers, and the directors who had the kindness of letting us in their shared musical life. In this second YouSound Zine, we continue to follow the artist at the Swedish Dream Orchestra in Gothenburg. The educational project was created in 2016. It uses music as a tool for the education, emancipation, and social inclusion of unaccompanied migrants. Between 2015 and 2016, Sweden welcomed the largest number of migrants per capita in Europe. Action was urgently required, and Dream Orchestra became an answer. The students benefit from free music classes and free instruments. Being a teacher in t is context demands much more than lecturing classes, just as being a music student is much more than learning tunes. It’s been almost seven years of hard work, fuelled by passion and respect for each one’s history. Through her illustrations and words, Beatriz Machado brings everyone closer to the everyday experiences lived by the social actors involved in Dream Orchestra. Take your time to enjoy this zine and follow your curiosity by accessing their website: www.dreamorchestra.sepublishersversionpublishe