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(Scroll down for English version)Journ&#233;e d&#8217;&#233;tude, 31 mai et 1er juin 2010, universit&#233; Paris 1 Panth&#233;on-Sorbonne, INHA.Alors qu&#8217;en d&#233;cembre, les Nations Unies organisent leur 15&#232;me conf&#233;rence sur les changements climatiques &#224; Copenhague, dans cette m&#234;me ville, le Statens Musem for Kunst met en place l&#8217;exposition Nature Strikes Back accompagn&#233;e d&#8217;un colloque international abordant les relations qui lient l&#8217;art et la nature aux technologies. Peu de temps auparavant, la Barbican Art Gallery &#224; Londres exer&#231;ait avec Radical Nature un retour sur la production artistique de ces quarante derni&#232;res ann&#233;es confront&#233;es &#224; une plan&#232;te en constante &#233;volution avec, entre autres, les artistes clef du Land Art, de l&#8217;activisme environnementaliste et de l&#8217;architecture exp&#233;rimentale ainsi que quelques repr&#233;sentants de la nouvelle g&#233;n&#233;ration. Paris embo&#238;tait le pas, avec (In)habitable&#160;? L&#8217;art des environnements extr&#234;mes &#224; la Maison Europ&#233;enne de la Photographie. Les artistes pr&#233;sent&#233;s cherchent, par quelque moyen qui soit, et souvent gr&#226;ce aux nouvelles technologies, &#224; explorer et &#224; se r&#233;approprier avec humour, la po&#233;sie et l&#8217;utopisme inh&#233;rents au concept de nature.Bien que le questionnement sur l&#8217;id&#233;e de nature ne soit en rien une originalit&#233;, force est de constater que, face &#224; la mont&#233;e des probl&#232;mes &#233;cologiques et &#224; l&#8217;apparition des nouvelles sciences, il s&#8217;actualise et rev&#234;t de nouvelles formes. L&#8217;aporie appara&#238;t lorsque les nouvelles technologies, boostant l&#8217;industrialisation de masse et ainsi d&#233;clenchant les probl&#232;mes &#233;cologiques connus aujourd&#8217;hui, deviennent simultan&#233;ment le possible gu&#233;risseur de ces m&#234;mes maux. Foi en la science ou adepte de la d&#233;croissance, l&#8217;opinion s&#8217;&#233;gare dans ces paradoxes et ne trouve de r&#233;ponse convenable. Alors que jusque dans les ann&#233;es 80, les artistes revendiquaient le retour &#224; une nature originelle, nos contemporains n&#8217;apparaissent nullement sous une banni&#232;re commune. La nature n&#8217;est alors plus uniquement utilis&#233;e pour des raisons &#233;cologiques mais comme un mat&#233;riau refl&#233;tant l&#8217;&#233;ventail des probl&#232;mes soci&#233;taux. Ce qui am&#232;ne Kin Levin, dans le catalogue Trans&#8217;Plant&#160;: Living vegetation in contemporary art (Hatje Catz Publishers, 2000) &#160;&#224; d&#233;clarer &#171;&#160;Artists using plants today have little in common except they share the crucial anxieties of our time&#160;&#187;. Angoisse de la d&#233;gradation de notre environnement, terreur des nouvelles sciences qui, &#224; force d&#8217;avoir aid&#233; l&#8217;humain &#224; dominer la nature, sa nature, l&#8217;ont rendue incontr&#244;lable. Comment pouvons-nous alors la d&#233;finir, ou plut&#244;t la red&#233;finir, confront&#233;e &#224; ces nouvelles formes de cr&#233;ations, d&#8217;hybridations, de manipulations&#160;? &#160;Cette journ&#233;e tentera de proposer une d&#233;finition compl&#233;t&#233;e/nouvelle de l&#8217;id&#233;e de nature en ciblant les interventions sur la production artistique contemporaine. Elle s&#8217;int&#233;ressera dans un premier temps &#224; penser le paysage contemporain en &#233;voquant les notions de paysage culturel et de paysage comme m&#233;taphores des probl&#232;mes de soci&#233;t&#233;. Dans un second temps, nous nous interrogerons sur la relation qu&#8217;entretiennent les hommes &#224; la nature alors que les manipulations g&#233;n&#233;tiques vont bon train, confondant r&#233;guli&#232;rement les limites entre l&#8217;homme et l&#8217;animal. Parmi les multiples pistes de r&#233;flexions possibles, nous pourrons s&#8217;int&#233;resser aux suivantes&#160;:    &#160;Les cultural landscapes/emerging landscapes    Relation art /Science Fiction.    D&#233;cadence et attirance pour les nouvelles technologies    D&#233;senchantement    EcologieMerci d&#8217;envoyer votre proposition de communication (300 mots) &#224; Marion Duquerroy (marionduquerroy&#160;(at)&#160;yahoo&#160;[point]&#160;fr) avant le 28 f&#233;vrier 2010. Les pr&#233;sentations ne devront pas d&#233;passer 30 minutes.&#160; Call for paper&#160;Symposium, 31st of May and 1st of June 2010, universit&#233; Paris 1 Panth&#233;on-Sorbonne, INHA.In December, the United Nations will host its 15th Conference on climate change in Copenhagen. In this same city, the Staten Museum for Kunst opens its exhibition entitled Nature Strikes Back, twinned with an international symposium addressing the relationships between art, nature and technology. This follows a precedence set by the Barbican Art Gallery, London, which recently looked back over the last few years of artistic production. The Barbican&#8217;s exhibitors were also faced with the notion of an endlessly changing planet, and included Land Artists, active environmentalists, experimental architects and representatives of the new generation. Paris followed with (In)habitable&#160;? L&#8217;art des environnements extr&#234;mes, held at the Maison Europ&#233;enne de la Photographie. The exhibiting artists tried through various means, and by exploiting new technologies, to explore and re-appropriate with humour, the poetry and utopia inherent within the concept of Nature.The idea of questioning the idea of Nature is far from original, nevertheless when confronted with increasing ecological problems and the emergence of new science; the concept is constantly renewed and forced to take on new forms. Paradoxes appear when damaging new technologies, such as the perpetration of mass industrialisation, simultaneously hold the answer to healing their own assaults on our ecology. Public opinion becomes lost in these paradoxes and finds no answer, whether we have faith in science, or are supporters of sustainable de-growth. Up until the 1980s, artists were united under their wish for a return to original Nature, whereas our contemporaries are no longer gathered under a common banner. Nature is then not uniquely used for promoting ecology, but as a material to reflect the wide ranging scope of society&#8217;s problems. This has lead Kin Levin, in the catalogue Trans&#8217;Plant&#160;: Living vegetation in contemporary art (Hatje Catz Publishers, 2000), to conclude: &#8216;Artists using plants today have little in common except they share the crucial anxieties of our time.&#8217; Anxiety for the deterioration of our environment, fear for new sciences which, by dint of helping humans dominate nature, their nature, have lead to its uncontrollability. The question is how can we define Nature, or rather redefine it, confronted as we are with these new forms of creation, hybridisation and manipulation? This symposium will aim to propose a new and/or completed definition of the idea of Nature by focusing all papers on contemporary art. Firstly, it will take issue with an idea of contemporary nature, evoking nations of cultural landscape alongside the metamorphosis of society&#8217;s problems. Secondly, it will question the relationship which binds us with Nature, even whilst genetic manipulations proceed apace, frequently blurring the lines between human beings and the animal kingdom. Topic may include but are not limited to:    cultural landscapes/emerging landscapes    relationship art/Science Fiction    decadence and attraction to new technologies    disenchantment    ecologyAbstract (300 words) should be submitted to Marion Duquerroy (marionduquerroy&#160;(at)&#160;yahoo&#160;[point]&#160;fr) before the 28th of February 2010. Presentations will be expected not to exceed 30 minutes.&#160; 