L’œuvre d’art « augmentée » et ses formes de vie

In this article, we examine the "augmented" work of art in the light of the filiations and genealogies of forms that underlie its forms of life. First, we study the notion of form, essentially from Gal’s Deep Formalism, Cassirer’s theory of symbolic forms, reviewed by Lassègue, and genetic constructivism based on Gestalttheorie (Visetti). We define the form as a field of convergent and divergent forces (Bordron) underpinning a double semiosis, plastic and figurative or iconic (Fontanille). Next, we aim to account for the modalities of filiation and genealogy (successivity, “tourbillon”, intrinsic variability), before showing how the analysis of Rosso Fiorentino’s painting Bacchus, Venus and Cupid (1531-1532) can benefit from two machine-guided approaches (Google keywords and SimArt-Datavalor query). The aim is to identify an interpretative approach and evaluate the conditions for success, from the point of view of the observer equipped with effective selection criteria.