{"id":8863,"date":"2026-05-29T08:03:18","date_gmt":"2026-05-29T06:03:18","guid":{"rendered":"https:\/\/great-artmag.com\/?p=8863"},"modified":"2026-05-29T08:06:26","modified_gmt":"2026-05-29T06:06:26","slug":"sebastien-loghman-par-hafida-jemni-di-folco","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/","title":{"rendered":"S\u00e9bastien Loghman : l’\u00ab identit\u00e9 et demie \u00bb \u00e0 l’\u00e9preuve de l’algorithme"},"content":{"rendered":"

\u00c0 l’occasion de la 18\u1d49 \u00e9dition de l’Opline Prize 2026, la critique d’art Hafida Jemni Di Folco pose un regard aff\u00fbt\u00e9 sur le travail de S\u00e9bastien Loghman, et plus particuli\u00e8rement sur son \u0153uvre manifeste Comment peut-on \u00eatre Persan ?<\/i>. Loin du f\u00e9tichisme technologique et des d\u00e9monstrations de force visuelle, l\u2019artiste franco-iranien y d\u00e9tourne l\u2019intelligence artificielle pour en faire le r\u00e9v\u00e9lateur d’une qu\u00eate identitaire et m\u00e9morielle. Portrait.<\/strong><\/p>\n

Dans le film-essai intitul\u00e9 Comment peut-on \u00eatre Persan ?<\/em>, S\u00e9bastien Loghman d\u00e9place l\u2019usage de l\u2019intelligence artificielle hors du f\u00e9tichisme technologique pour l\u2019inscrire dans le champ d\u2019une interrogation identitaire.<\/p>\n

N\u00e9 en France d\u2019un p\u00e8re iranien, l\u2019artiste prend pour point de d\u00e9part un corps, une filiation, une langue. Plut\u00f4t que de demander \u00e0 la machine de produire des prouesses visuelles, il lui adresse des questions simples\u202f: \u00ab\u202fQui suis-je ?\u202f\u00bb, \u00ab\u202f\u00c0 quoi ressemble un Persan n\u00e9 en France ?\u202f\u00bb, \u00ab\u202f\u00c0 quoi ressemble la maison de mon p\u00e8re \u00e0 T\u00e9h\u00e9ran ?\u202f\u00bb.<\/p>\n

Le dispositif, volontairement d\u00e9pouill\u00e9, met en tension deux r\u00e9gimes d\u2019images. D\u2019un c\u00f4t\u00e9, les r\u00e9ponses de l\u2019IA : r\u00e9cits et visuels g\u00e9n\u00e9r\u00e9s, plausibles, liss\u00e9s, synth\u00e9tiques. De l\u2019autre, un film de famille tourn\u00e9 en 16 mm, des archives vid\u00e9o et sonores, charg\u00e9es de m\u00e9moire et de discontinuit\u00e9s. Le film se loge dans l\u2019intervalle entre ces deux sources\u202f: ni c\u00e9l\u00e9bration na\u00efve de l\u2019archive intime, ni d\u00e9nonciation spectaculaire de la machine, mais exploration fine de ce que chacune fabrique comme \u00ab\u202fv\u00e9rit\u00e9\u202f\u00bb de l\u2019identit\u00e9.<\/p>\n

C\u2019est dans cet \u00e9cart que Loghman introduit la notion d\u2019\u00ab\u202fidentit\u00e9 et demie\u202f\u00bb. Il ne s\u2019agit pas de compter les appartenances (moiti\u00e9 Fran\u00e7ais, moiti\u00e9 Iranien), mais de nommer le d\u00e9bordement\u202f: ce qui exc\u00e8de les cases administratives et les r\u00e9cits stabilis\u00e9s. Silences familiaux, malentendus de langue, m\u00e9moire de l\u2019exil, honte et fiert\u00e9 en tension, humour comme dispositif de survie\u202f: cette \u00ab\u202fdemie\u202f\u00bb condense pr\u00e9cis\u00e9ment ce qui r\u00e9siste aux typologies et aux narrations dominantes, qu\u2019elles soient familiales, nationales ou algorithmiques.<\/p>\n

L\u2019IA appara\u00eet ici comme un op\u00e9rateur de normativit\u00e9 plus que comme un agent de rupture. En tant que syst\u00e8me entra\u00een\u00e9 sur des banques de donn\u00e9es majoritairement occidentales, elle r\u00e9active, sous une forme actualis\u00e9e, le vieux r\u00e9gime du regard europ\u00e9en sur l\u2019\u00ab\u202fAutre\u202f\u00bb. Le titre, Comment peut-on \u00eatre Persan ?, r\u00e9active explicitement le dispositif des Lettres persanes de Montesquieu\u202f: au XVIII\u1d49 si\u00e8cle, des Persans fictifs servaient de prisme pour observer la soci\u00e9t\u00e9 fran\u00e7aise ; au XXI\u1d49, c\u2019est une IA satur\u00e9e de mod\u00e8les occidentaux qui pr\u00e9tend d\u00e9finir ce qu\u2019est un \u00ab\u202fPersan moderne\u202f\u00bb. L\u2019algorithme occupe la place du regard dominant ; le film, lui, travaille \u00e0 le d\u00e9caler, le fissurer, l\u2019exposer.<\/p>\n

Ce qui est en jeu n\u2019est pas tant la capacit\u00e9 de la machine \u00e0 \u00ab\u202fcomprendre\u202f\u00bb l\u2019identit\u00e9 que sa mani\u00e8re de la simplifier pour la rendre exploitable. L\u2019IA incarne une forme d\u2019\u00ab\u202famour rationnel\u202f\u00bb\u202f: elle veut aider, clarifier, stabiliser, au prix d\u2019un geste de r\u00e9duction et d\u2019homog\u00e9n\u00e9isation. Face \u00e0 cette logique de la synth\u00e8se, le film oppose une autre \u00e9conomie affective\u202f: un amour filial, linguistique, m\u00e9moriel, travers\u00e9 de contradictions et de non-savoir.<\/p>\n

Comment peut-on \u00eatre Persan ? ne propose pas une nouvelle d\u00e9finition de l\u2019identit\u00e9 diasporique ; il en met en crise la possibilit\u00e9 m\u00eame de cl\u00f4ture.<\/p>\n

Par sa bri\u00e8vet\u00e9, l\u2019\u0153uvre assume la forme du geste inaugural plut\u00f4t que celle du statement d\u00e9finitif. Elle ouvre une enqu\u00eate, plus qu\u2019elle ne la referme. En articulant images de famille et production algorithmique, amour d\u2019un p\u00e8re et \u00ab\u202fbienveillance\u202f\u00bb normalisatrice de la machine, Loghman d\u00e9place la question de l\u2019IA hors du territoire de la performance technique pour l\u2019inscrire dans celui, plus fragile et plus politique, de ce qui demeure intraduisible, inaccessible dans les exp\u00e9riences minoritaires de soi. L\u00e0 o\u00f9 nombre de propositions actuelles exhibent ce que l\u2019IA est capable de produire, Comment peut-on \u00eatre Persan ? s\u2019attache \u00e0 ce qu\u2019elle ne parvient pas, sans doute ne parviendra sans doute jamais, \u00e0 saisir compl\u00e8tement.<\/p>\n

Pr\u00e9sent\u00e9 dans le cadre de la Nuit Blanche, le film devint une exp\u00e9rience partag\u00e9e, rejou\u00e9e dans l\u2019espace collectif de la nuit parisienne. L\u2019IA n\u2019y appara\u00eet plus seulement comme un outil de g\u00e9n\u00e9ration d\u2019images, mais comme un miroir partiel, parfois d\u00e9formant, des histoires intimes que chacun porte en lui. L\u2019amour y circule sous des formes multiples : amour filial ; amour d\u2019une langue; d\u2019un pass\u00e9; d\u2019un pays quitt\u00e9 ou r\u00eav\u00e9. Il vient buter sur une technologie qui sait ordonner, classer, simplifier, mais \u00e9choue \u00e0 embrasser l\u2019exc\u00e9dent affectif.<\/p>\n

Dans le frottement des images r\u00e9elles et g\u00e9n\u00e9r\u00e9es, dans leurs dissonances et leurs fr\u00f4lements, le spectateur est invit\u00e9 \u00e0 \u00e9prouver ce que l\u2019amour de soi, des autres, de ses origines, et de l\u2019invention de soi, conserve d\u2019intraduisible \u00e0 l\u2019\u00e8re de l\u2019intelligence artificielle.<\/p>\n

C\u2019est dans cet espace ouvert par la nuit, entre ce que la machine peut montrer et ce qu\u2019elle ne pourra jamais totalement saisir, que se dessine, fragile et inachev\u00e9e, une mani\u00e8re d\u2019\u00eatre Persan aujourd\u2019hui<\/p>\n

Hafida Jemni Di Folco \u00a9\ufe0f \/ OPLINEPRIZE #18, 2026<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c0 l’occasion de la 18\u1d49 \u00e9dition de l’Opline Prize 2026, la critique d’art Hafida Jemni Di Folco pose un regard aff\u00fbt\u00e9 sur le travail de S\u00e9bastien Loghman, et plus particuli\u00e8rement sur son \u0153uvre manifeste Comment peut-on \u00eatre Persan ?. Loin du f\u00e9tichisme technologique et des d\u00e9monstrations de force visuelle, l\u2019artiste franco-iranien y d\u00e9tourne l\u2019intelligence artificielle […]<\/p>\n","protected":false},"author":1,"featured_media":8864,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1197],"tags":[1272],"class_list":["post-8863","post","type-post","status-publish","format-standard","has-post-thumbnail","category-portrait-artiste","tag-ia"],"yoast_head":"\nS\u00e9bastien Loghman : l'\u00ab identit\u00e9 et demie \u00bb \u00e0 l'\u00e9preuve de l'algorithme - GREAT-ARTMAG<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"S\u00e9bastien Loghman : l'\u00ab identit\u00e9 et demie \u00bb \u00e0 l'\u00e9preuve de l'algorithme - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"\u00c0 l’occasion de la 18\u1d49 \u00e9dition de l’Opline Prize 2026, la critique d’art Hafida Jemni Di Folco pose un regard aff\u00fbt\u00e9 sur le travail de S\u00e9bastien Loghman, et plus particuli\u00e8rement sur son \u0153uvre manifeste Comment peut-on \u00eatre Persan ?. Loin du f\u00e9tichisme technologique et des d\u00e9monstrations de force visuelle, l\u2019artiste franco-iranien y d\u00e9tourne l\u2019intelligence artificielle […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/\" \/>\n<meta property=\"og:site_name\" content=\"GREAT-ARTMAG\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-29T06:03:18+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-05-29T06:06:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/05\/sebastien-loghman.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1432\" \/>\n\t<meta property=\"og:image:height\" content=\"886\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Alexia Gugg\u00e9mos\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Alexia Gugg\u00e9mos\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/\"},\"author\":{\"name\":\"Alexia Gugg\u00e9mos\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#\\\/schema\\\/person\\\/07a768635fe6f6d87951dc8ae985eeda\"},\"headline\":\"S\u00e9bastien Loghman : l’\u00ab identit\u00e9 et demie \u00bb \u00e0 l’\u00e9preuve de l’algorithme\",\"datePublished\":\"2026-05-29T06:03:18+00:00\",\"dateModified\":\"2026-05-29T06:06:26+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/\"},\"wordCount\":933,\"publisher\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/great-artmag.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/sebastien-loghman.png\",\"keywords\":[\"IA\"],\"articleSection\":[\"ARTISTES\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/\",\"url\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/\",\"name\":\"S\u00e9bastien Loghman : l'\u00ab identit\u00e9 et demie \u00bb \u00e0 l'\u00e9preuve de l'algorithme - GREAT-ARTMAG\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/great-artmag.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/sebastien-loghman.png\",\"datePublished\":\"2026-05-29T06:03:18+00:00\",\"dateModified\":\"2026-05-29T06:06:26+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/#primaryimage\",\"url\":\"https:\\\/\\\/great-artmag.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/sebastien-loghman.png\",\"contentUrl\":\"https:\\\/\\\/great-artmag.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/sebastien-loghman.png\",\"width\":1432,\"height\":886},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/sebastien-loghman-par-hafida-jemni-di-folco\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"S\u00e9bastien Loghman : l’\u00ab identit\u00e9 et demie \u00bb \u00e0 l’\u00e9preuve de l’algorithme\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/\",\"name\":\"Great ArtMag\",\"description\":\"Le M\u00e9dia des H\u00e9donistes\",\"publisher\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#organization\",\"name\":\"GREAT ARTMAG\",\"url\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/great-artmag.com\\\/wp-content\\\/uploads\\\/2024\\\/07\\\/IMG_5403.jpg\",\"contentUrl\":\"https:\\\/\\\/great-artmag.com\\\/wp-content\\\/uploads\\\/2024\\\/07\\\/IMG_5403.jpg\",\"width\":860,\"height\":368,\"caption\":\"GREAT ARTMAG\"},\"image\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.instagram.com\\\/great_artmag\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#\\\/schema\\\/person\\\/07a768635fe6f6d87951dc8ae985eeda\",\"name\":\"Alexia Gugg\u00e9mos\",\"url\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/author\\\/admin5782\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"S\u00e9bastien Loghman : l'\u00ab identit\u00e9 et demie \u00bb \u00e0 l'\u00e9preuve de l'algorithme - GREAT-ARTMAG","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/","og_locale":"en_US","og_type":"article","og_title":"S\u00e9bastien Loghman : l'\u00ab identit\u00e9 et demie \u00bb \u00e0 l'\u00e9preuve de l'algorithme - GREAT-ARTMAG","og_description":"\u00c0 l’occasion de la 18\u1d49 \u00e9dition de l’Opline Prize 2026, la critique d’art Hafida Jemni Di Folco pose un regard aff\u00fbt\u00e9 sur le travail de S\u00e9bastien Loghman, et plus particuli\u00e8rement sur son \u0153uvre manifeste Comment peut-on \u00eatre Persan ?. Loin du f\u00e9tichisme technologique et des d\u00e9monstrations de force visuelle, l\u2019artiste franco-iranien y d\u00e9tourne l\u2019intelligence artificielle […]","og_url":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/","og_site_name":"GREAT-ARTMAG","article_published_time":"2026-05-29T06:03:18+00:00","article_modified_time":"2026-05-29T06:06:26+00:00","og_image":[{"width":1432,"height":886,"url":"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/05\/sebastien-loghman.png","type":"image\/png"}],"author":"Alexia Gugg\u00e9mos","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Alexia Gugg\u00e9mos","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/#article","isPartOf":{"@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/"},"author":{"name":"Alexia Gugg\u00e9mos","@id":"https:\/\/great-artmag.com\/en\/#\/schema\/person\/07a768635fe6f6d87951dc8ae985eeda"},"headline":"S\u00e9bastien Loghman : l’\u00ab identit\u00e9 et demie \u00bb \u00e0 l’\u00e9preuve de l’algorithme","datePublished":"2026-05-29T06:03:18+00:00","dateModified":"2026-05-29T06:06:26+00:00","mainEntityOfPage":{"@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/"},"wordCount":933,"publisher":{"@id":"https:\/\/great-artmag.com\/en\/#organization"},"image":{"@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/#primaryimage"},"thumbnailUrl":"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/05\/sebastien-loghman.png","keywords":["IA"],"articleSection":["ARTISTES"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/","url":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/","name":"S\u00e9bastien Loghman : l'\u00ab identit\u00e9 et demie \u00bb \u00e0 l'\u00e9preuve de l'algorithme - GREAT-ARTMAG","isPartOf":{"@id":"https:\/\/great-artmag.com\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/#primaryimage"},"image":{"@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/#primaryimage"},"thumbnailUrl":"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/05\/sebastien-loghman.png","datePublished":"2026-05-29T06:03:18+00:00","dateModified":"2026-05-29T06:06:26+00:00","breadcrumb":{"@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/#primaryimage","url":"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/05\/sebastien-loghman.png","contentUrl":"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/05\/sebastien-loghman.png","width":1432,"height":886},{"@type":"BreadcrumbList","@id":"https:\/\/great-artmag.com\/en\/sebastien-loghman-par-hafida-jemni-di-folco\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/great-artmag.com\/en\/"},{"@type":"ListItem","position":2,"name":"S\u00e9bastien Loghman : l’\u00ab identit\u00e9 et demie \u00bb \u00e0 l’\u00e9preuve de l’algorithme"}]},{"@type":"WebSite","@id":"https:\/\/great-artmag.com\/en\/#website","url":"https:\/\/great-artmag.com\/en\/","name":"Great ArtMag","description":"Le M\u00e9dia des H\u00e9donistes","publisher":{"@id":"https:\/\/great-artmag.com\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/great-artmag.com\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/great-artmag.com\/en\/#organization","name":"GREAT ARTMAG","url":"https:\/\/great-artmag.com\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/great-artmag.com\/en\/#\/schema\/logo\/image\/","url":"https:\/\/great-artmag.com\/wp-content\/uploads\/2024\/07\/IMG_5403.jpg","contentUrl":"https:\/\/great-artmag.com\/wp-content\/uploads\/2024\/07\/IMG_5403.jpg","width":860,"height":368,"caption":"GREAT ARTMAG"},"image":{"@id":"https:\/\/great-artmag.com\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.instagram.com\/great_artmag"]},{"@type":"Person","@id":"https:\/\/great-artmag.com\/en\/#\/schema\/person\/07a768635fe6f6d87951dc8ae985eeda","name":"Alexia Gugg\u00e9mos","url":"https:\/\/great-artmag.com\/en\/author\/admin5782\/"}]}},"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/posts\/8863","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/comments?post=8863"}],"version-history":[{"count":2,"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/posts\/8863\/revisions"}],"predecessor-version":[{"id":8866,"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/posts\/8863\/revisions\/8866"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/media\/8864"}],"wp:attachment":[{"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/media?parent=8863"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/categories?post=8863"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/great-artmag.com\/en\/wp-json\/wp\/v2\/tags?post=8863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}