The genome is one of the primordial elements of the human being and is responsible for human identity and its transmission to descendants. The gene as such ought not be appropriated or owned by man. However, any sufficiently complete description of a gene should be capable of being protected as intellectual property. Furthermore, all utilisations of a gene or its elements that permit development of processes or new products should be patentable. Ethics, in the sense of moral action, should come (...) into play from the very first stages of research into the human genome. Protection of intellectual and industrial property is of purely legal concern and need not provoke ethical consideration. By contrast, the use of the results of, and in particular the commercialisation of products deriving from, research into the human genome, ought to be subjected to ethical consideration and control. Considering the economic and societal stakes of such research, ethical analysis ought to be at an international level if mistakes and unforeseen risks of conflict are to be avoided. (shrink)

Le catalogue d'une exposition s'inscrivant dans la suite de Design et merveilleux (MAMC Saint-Etienne, 2018) et la Fabrique du vivant (Centre Pompidou Paris, 2019). Elle présente le lien du biomorphisme du design moderniste au biomimétisme contemporain ainsi qu'à la biofabrication et à la recréation du vivant par le design numérique.--Exhibition: Centre Pompidou-Metz, France (11.06.2022-06.02.2023).

One of the world’s largest collections of European modern art, held by Centre Georges Pompidou, was displayed for the first time in a thematically-curated exhibition, The Big Bang. This review article evaluates the merits and permutations of thematic curation, in lieu of The Big Bang’s relation to previous instances of thematic curation of significant museum collections, most notably at the Museum of Modern Art and Tate Modern. The Big Bang is also considered against the ideological underpinnings of both thematic (...) and chronological curation, and their implications for the future. (shrink)

« De la dérive volontaire, de la sérendipité et de la contradiction comme principes de préparation d’une exposition » revient sur la genèse d’une exposition présentée au Centre Pompidou-Metz de septembre 2011 à mars 2012. Dès l’origine de ce projet intitulé ERRE – variations labyrinthiques, les commissaires ont souhaité faire de la thématique même un principe de conception de l’exposition, utilisant la méthode perte et le régime du doute comme fils conducteur d’une pensée. Ce texte revient sur la fabrique (...) d’une exposition et n’a d’autre prétention que de partager quelques principes occultes de cette aventure curatoriale. (shrink)

Nous vivons le temps des images, et c'est accroître ses plaisirs que de s'en donner l'intelligence. En relatant comment il a lui-même appris à ouvrir les yeux, dans les grottes ornées comme dans nos salles de musée, l'auteur, idolâtre heureux et qui ne se repent pas, entend contribuer au bon usage du "stupéfiant image". Mais l'énigme qu'il interroge tout au long de ce recueil de témoignages et de réflexions, c'est celle du temps immobile. Il est des images fixes que l'on (...) peut dater par leur style ou leur technique, mais dont nous demeurons étonnamment contemporains. Les archives visuelles des civilisations éteintes restent vivantes en sorte qu'elles auraient bien tort de se croire mortelles. Les dieux et les idées meurent, non leurs statues ni leurs figures. Et les félins de la grotte Chauvet, 35 000 ans, n'ont pas d'âge, pas plus que nos plus belles photos de stars. (shrink)

En bannissant les poètes de la Cité, Platon inaugurait une longue querelle entre philosophes et artistes. De fait, les artistes ont aimé se proclamer " instaurateurs ", " éducateurs ", " voyants ", " tenants de l'avant-garde ". Depuis Hölderlin, qui n'a en tête le poète-philosophe, depuis Nietzsche le philosophe-artiste? Pourtant le philosophique ne peut, sans renoncer au concept, être réduit à une poétique... Il est décisif d'articuler, aujourd'hui, les places philosophiques et artistiques. Au cours de ce séminaire, celles-là se (...) sont ancrées chez le Suger du XIIè siècle, dans la religion de l'art du XIXè siècle, dans la religion de l'art du XIXè siècle, chez les futuristes, les musiciens dodécaphonistes, Brecht, Pessoa ou Manoel de Oliveira. Au fond, il s'agit de penser nos configurations actuelles. (shrink)

This text is a transcription of Rouvroy’s presentation on 7th October 2014 at the “Digital Studies” seminar series at the Centre Georges Pompidou. This seminar series, organised by the French philosopher Bernard Stiegler, question the influence of digital technologies on knowledge from an epistemological point of view and from the way they alter academic disciplines.

Lors de la récente « rétrospective » de l’œuvre de Bertrand Lavier au Centre Georges Pompidou à Paris, on pouvait voir, dans une des dernières salles de l’exposition, comme une « sorte » de peinture gestuelle, une toile ou un panneau, présentant de longs gestes enroulés, blancs, comme dans les plus « belles » des peintures de l’abstraction lyrique. La relation entre le support et la matière laisse à peine entrevoir qu’il ne s’agit pas tout à fait d’une peinture (...) à proprement parler. En examina... (shrink)

Jean-Marie Straub – Sur Othon, je ne vous dirai qu’une chose. Avec des amis à Vienne, à l’époque, en travaillant, en répétant le texte, on rigolait en disant : voilà une lettre ouverte à Pompidou. Quant au Cézanne, je ne vous dirai pas un mot parce que c’est clair comme de l’eau de roche. J’ai deux choses à dire sur deux autres films différents. Il y en a un, par hasard qui s’appelle Le Fiancé, la Comédienne et le Maquereau. (...) Vous l’avez vu, certains d’entre vous l’ont vu. Mais je tiens à préc... (shrink)

Au Centre Pompidou-Metz, faisant écho à l'exposition inaugurale, un colloque international a étudié de manière pluridisciplinaire et transversale la question du chef-d'œuvre. Loin de se focaliser sur le débat esthétique, les diverses approches ont assigné le droit, l'histoire, la sociologie, l'économie et les sciences exactes, pour mieux soumettre cet "objet" à un véritable examen clinique. Cette question ne serait-elle plus d'actualité? Loin s'en faut! Entre cœur et raison, la sacralisation des œuvres d'art produit toujours autant de savoirs, de savoir-faire (...) et de savoirs sur le faire. Mettant en avant le patrimoine, restaurant les objets de l'art, les reconstituant, favorisant le tourisme culturel, exhumant le vrai, condamnant le faux : à sa mesure, le "chef-œuvre" dynamise encore et toujours les divers moments de l'art. (shrink)

"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre, the much-discussed Histoire du Cinèma 2 x 50 Years of French Cinema, The Old Place, On the Origin of the Twenty-First Century, Dans Le Noir du Temps, and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a (...) retrospective in the conventional sense, but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui, with tomorrow notable for its absence...". (shrink)

This paper explores the continuing relevance to education of ideas about art and resistance that Jean-François Lyotard signalled in his curated exhibition in 1985 at the Centre Georges Pompidou in Paris entitled Les Immatériaux. The exhibition was for Lyotard the ‘staging’ of a resistance at the dawning of an information age that challenged the prioritisation of computerised ‘data’ through the very deconstruction of data as presented in artistic form. While the implications of this event for art exhibitions are still (...) being theorised and debated, it is the insight Les Immat​ériaux provides as pedagogical encounter that is the focus of this article. The paper explores the exhibition in the context of the immateriality of art and develops this argument towards a notion of artistic testimony that then culminates in an analysis for the pedagogical significance of the exhibition in the information drenched, highly networked context of contemporary education. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Aucune discussion d'ensemble des ecrits de Lyotard sur l'art n'avait ete entreprise. Or sa reflexion sur les arts - musique, cinema, peinture surtout - est une part essentielle de son oeuvre, comme en temoignent les analyses proposees dans Discours, figure, Que peindre?, Moralites postmodernes, L'Inhumain et Les Ecrits sur l'art contemporain et les artistes. Moins remarque pourtant est le fait que Lyotard a collabore avec des peintres (Monory, Guiffrey, Adami, Sam Francis, Appel, Buren, etc). Il a ete commissaire d'une exposition (...) en 1985 qui a fait date, " Les Immateriaux ", au Centre Georges-Pompidou. Plusieurs textes du volume ainsi qu'un entretien inedit avec Bernard Blistene sont consacres a cette manifestation. Pour ce livre Francoise Coblence et Michel Enaudeau ont sollicite non seulement des lecteurs avertis de Lyotard (Christine Buci-Glucksmann, Elisabeth de Fontenay, Jean-Michel Rey, Jean-Loup Thebaud, Herman Parret, Anne Cauquelin, Gerald Sfez, Jean-Claude Rolland, Claudine Eizykman et Guy Fihman, Jean-Francois Nordmann, Jean-Patrice Courtois), mais aussi de plus jeunes chercheurs (Gaelle Bernard, Frederic Fruteau de Laclos, Claire Pages, Jerome Glicenstein, Maud Pouradier, Evelyne Toussaint) qui decouvrent pour leur propre compte le travail de Lyotard sur les arts. Les contributions rassemblees analysent les concepts forges par Lyotard, tels que " figural ", "libidinal ", " sublime ", " immateriau ", " matiere ", " impresentable " " affect ", " ecriture ". A travers eux, cette pensee de l'art veut rompre avec l'esthetique au sens academique du terme pour voir ou entendre dans les oeuvres l'evenement de la couleur ou du son. C'est donc bien d'un enjeu " ontologique " qu'il y va : l'art est seul a nous presenter la frappe sensible de l'etre. (shrink)

The 1969-72 period bas shown an evolution in the belgian european policy. White instituional orthodoxy and federalist teleology had prevailed in the sixties, some pragmatism has been added since Prime minister Gaston Eyskens met President Pompidou in Paris in june 1972. Belgium accepts the launching of a cooperation among the national foreign policies outside the sphere of the EC institutions; regular summits of heads of government are also agreed on. Pragmatism doesn't weaken however the belgian concerns about orthodoxy. Belgian (...) diplomacy is claiming a twofold orthodoxy. The "de lege fata" one insists on the compliance of the institutional practises with the legal provisions of the Treaties and on the extension of the scope of the EC policies by using the faculty provided by art. 235 EC. The constant refusal of the so called "compromis de Luxembourg" and the recurrent plea for the qualified majority voting, or the emphasis put on the powers of the Commission illustrate this kind of orthodoxy. The "de lege ferenda" orthodoxy consists of preventing institutional evolutions from closing the road to the long term federalist aims belgian diplomacy is still working towards for European integration. Hence some dilemmas between pragmatism on short term issues and some dogmatic rigidities which refer to the federalist finality. The discussion about twofold orthodoxy is grounded on a belgian positions' analysis on european affairs which covers the period from the end of the sixties to the belgian positions at the 1996 IGC. By the future perspective of a broader EU enlargement, Belgium will also face a new challenge: will its relative political weight be decreasing in the same time theUnion will extend? Which will be the price for accepting less Belgium in a larger Union? (shrink)

continent. 1.4 (2011): 240—241. “Pirogenetico, Pirogenetico”, 2009 Installation composée de deux tables en métal et trois blocs d’obsidienne et leur moulages. © Coll.Centre Pompidou / Distr. RMN I'm not so sure that art is so ambiguous. I just think it's not linguistic. It's more full and complex than language— we can experience it but not explain it. —Jimmie Durham(1) Jimmie Duraham is an American artist of Cherokee descent. He’s a visual artist and a political activist for the American Indian (...) Movement. Pirogenetico pirogenetico (2009) was recently installed at the Centre Pompidou as part of their “New Presentation of the Contemporary Collections.” His work is replete with wild ideas shaped by a sage, unpretentious impulse and an automatic responsibility to history, particularly his own Cherokee history. Confident from instability, and free from pedagogical language, he strings form and words together that sharply pierce the atmosphere of ideology. Durham doesn’t follow a line and he doesn’t depend on the scaffold of language, but the work makes a remarkable point. Pirogenetico, pirogenetico is a collection of three obsidian rocks, cut and then cast as a double in German silver. Each threesome sits on its own low metal table, forming a diptych. The cut of the original follows the shattering nature of obsidian, which Durham undercuts and monumentalizes in the double. The derivative double and its mannered original: they are nearly too beautiful but still can’t deny the violence. If Durham’s irony, his edge, is obscured by the volume of his forms, it’s reactivated in a video on the adjacent wall where the obsidian cuts through a heart organ. Durham’s syntax is spare. He knows that language isn’t big enough to tell the story, reminding us, as Lacan stated, “I always speak the truth. Not the whole truth... because saying it all is impossible: words fail.”(2) In place of language Durham uses an alternative accuracy that compounds history with the present, a mashup of material things, a collision of aesthetics that shakes down conventional wisdom, replacing it with searing poetry. NOTES (1) Heyokamagazine. “ Jimmie Durham: The Pursuit of Happiness .” (2) Lacan, Jacques. Television: A Challenge to the Psychoanalytic Establishment . Ed. Joan Copjec. Trans. Dennis Hollier, Rosalind Kraus, and Annette Michelson. (New York: Norton, 1990). p. 18. (shrink)

Crise de l'art ou consensus culturel? Aujourd'hui, l'important n'est plus, semble-t-il, que la critique esthetique ait encore a dire sur Josef Beuys mais que le Centre Pompidou puisse faire croire qu'il dit tout de lui. Le culturel, dans son mecanisme institutionnel et mediatique bien huile, apparait comme l'ultime parade que l'ordre social ait su trouver pour conjurer sa peur - ou sa haine - de l'art. Cependant la critique n'a pas a se laisser abuser ni intimider par l'artifice du (...) consensus culturel qui regne actuellement. Il lui revient de continuer a evaluer les oeuvres, pour autant que le jugement sur l'art engage aussi la societe et l'epoque dans lesquelles cet art se deploie. La reflexion esthetique ne se reduit pas au jugement de gout, elle commence avec lui et se poursuit apres lui. (shrink)

Résumé Les œuvres rassemblées par le département de prospective industrielle du Centre Pompidou à l’occasion de l’exposition Multiversités Créatives nous projettent dans un monde où s’estompent les frontières entre le vivant et le non-vivant, entre le pensant et le non-pensant, entre la nature et l’artefact. Matière intelligente et traitement algorithmique des données, « biologisation » des objets et « réification » de nos modes de vie instaurent un nouveau monde, qui multiplie les défis à notre humanité.

Un grand nombre de revues se sont créées pour résister à la colonisation et accompagner les luttes pour l’indépendance. Une installation, présentée notamment au Centre Pompidou (mai-juin 2021), permet de prendre connaissance de ce patrimoine exceptionnel et de réfléchir au rôle des revues dans l’histoire. Deux ouvrages parus aux Nouvelles Éditions Place/INHA en 2021, une base de données de 1000 revues accessible sur sismo.inha.fr, accompagne également ce projet.

La question du statut de l’espace est au cœur même de la sémiotique des expositions. Revenir sur l’évolution des technologies de mise en exposition – spécialement l’évolution de la muséologie de point de vue – est proposé comme moyen pour aborder l’importance accordée à l’espace dans la conception de certaines des expositions actuelles et, tout particulièrement, pour comprendre la manière dont l’espace est utilisé afin de faire signifier celles-ci. L’examen de deux expositions emblématiques de cet usage de l’espace – le (...) plateau des collections du Musée du Quai Branly et les expositions d’ouverture du Centre Pompidou-Metz – est l’occasion de montrer les enjeux communicationnels d’un tel usage.The status of spaces is a question that lies at the very heart of the semiotics of exhibitions. This article offers a review of the changing technology of exhibition design – especially as applied in a museum’s approaches to points of view – to address the importance given to space in the design some of today’s exhibitions and, in particular, to understand how spaces are used to make them meaningful. Two exhibitions that are emblematic in terms of the use of space – of the Quai Branly museum collections and the opening exhibition for the Centre Pompidou-Metz – are analysed here to highlight the communicational issues underlying their uses of space. (shrink)

If we think of artistic creation as a basic dimension of humanity we need to question the absence of female artists in history. We should also look at their gradual emergence in the late 20th century, an emergence that coincides with the feminist movement and a change in the conception of art itself, revealed chiefly by Duchamp. But does art by women have some specificity? Without giving a definite answer as far as subject matter is concerned, we note that the (...) conditions suited to both history and the history of art may affect their creation but without specifying it ontologically. If, moreover, some women artists define their work as feminist, it is through an act that combines artistic and political transgression. The exhibition currently arranged by the Georges Pompidou Centre, elles@ beaubourg, provides new resources for these complex questions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesLee UfanBorn in Haman County, Korea, in 1936, Lee Ufan is a leading practitioner and theorist of the Mono-ha School, which emerged in Japan in the 1960s. With his distinct approach and individualistic artistic expression, he has established a unique style of his own that goes beyond such categorization. In his work, Lee leaves areas unmade and produces yohaku (empty spaces and margins), while cutting personal expression to a (...) minimum. This approach draws out the unique tension and stillness of a particular space, a characteristic of his work. Lee lives and works in Paris and Kamakura, Japan. Among many other places, his work is part of the collections at the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Tate Collection in London, the National Museum of Contemporary Art in Seoul, the National Museum of Modern Art in Tokyo, and Queensland Art Gallery in Brisbane. Click for larger view View full resolutionRELATUM—THE MIRROR ROAD, 2021 / 2022 Stone and stainless steel Stones, height 90 cm (set of 2), stainless steel plate, 2 x 100 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 168] Click for larger view View full resolutionRELATUM—THE INFINITE THREAD, 2022 Stainless steel and string Dimensions variable Installation view: Lee Ufan: Requiem, Alyscamps, Arles, France, October 30, 2021–September 30, 2022 Collection of the artist © Studio Lee Ufan / Photo: Claire Dorn[End Page 11] Click for larger view View full resolutionRELATUM—SHE AND HE, 2005 / 2022 Stone and Steel Stone, height 70 cm; steel plate, 2 x 200 x 170 cm Collection of the artist Photo: Shu Nakagawa[End Page 75] Click for larger view View full resolutionRELATUM—ESCARGOT, 2018 / 2022 Stone and stainless steel Stone, height 50 cm; stainless steel, 200 x 300 x 253 cm Photo: Shu Nakagawa[End Page 97] Click for larger view View full resolutionRELATUM—DISSONANCE, 2004 / 2022 Stone and stainless steel Stones, height 35 and 45 cm (set of 2); stainless steel poles, 350 cm (set of 2) Collection of the artist Photo: Shu Nakagawa[End Page 111] Click for larger view View full resolutionRELATUM—THE ARCH, 2014 / 2022 Stone and stainless steel Stones, height 230 cm (set of 2) (actual size); stainless steel arch, 427 x 500 x 200 cm; stainless steel plate on the ground, 2 x 200 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 135]Copyright © 2023 Cornell University... (shrink)

L’intervention de l’écrivain Thomas Clerc dans l’exposition de Pierre Huyghe au Centre Pompidou en 2013, conçue comme une performance revisitée de L’écrivain public (1995) de Huyghe, interroge le statut de l’auteur-performeur et celui de témoin doublé du statut de spectateur dans la personne de l’écrivain écrivant au cœur d’une exposition dont il fait lui-même partie. Nous interrogeons le déplacement de la fonction de l’écrivain public dans celui du traducteur de sensations et d’émotions propres à un lieu d’art, en situation (...) d’immersion. Faut-il lire ce qui fait événement en un seul et même acte sous la plume de l’écrivain comme autant de traces venant inquiéter le réel dans un travail d’enquête sur le temps d’exposition? Nous questionnons la fonction d’interprète et d’acteur d’une œuvre exposée à travers la figure de l’écrivain à l’œuvre. (shrink)

L’intervention de l’écrivain Thomas Clerc dans l’exposition de Pierre Huyghe au Centre Pompidou en 2013, conçue comme une performance revisitée de L’écrivain public (1995) de Huyghe, interroge le statut de l’auteur-performeur et celui de témoin doublé du statut de spectateur dans la personne de l’écrivain écrivant au cœur d’une exposition dont il fait lui-même partie. Nous interrogeons le déplacement de la fonction de l’écrivain public dans celui du traducteur de sensations et d’émotions propres à un lieu d’art, en situation (...) d’immersion. Faut-il lire ce qui fait événement en un seul et même acte sous la plume de l’écrivain comme autant de traces venant inquiéter le réel dans un travail d’enquête sur le temps d’exposition? Nous questionnons la fonction d’interprète et d’acteur d’une œuvre exposée à travers la figure de l’écrivain à l’œuvre. (shrink)

A revision of George Kennedy's translation of, introdution to, and commentary on Aristotle's On Rhetoric. His translation is most accurate, his general introduction is the most thorough and insightful, and his brief introductions to sections of the work, along with his explanatory footnotes, are the most useful available.

This article examines how in his influential 1964 Fun Palace project the late British architect Cedric Price created a unique synthesis of a wide range of contemporary discourses and theories, such as the emerging sciences of cybernetics, information technology, and game theory, Situationism, and theater to produce a new kind of improvisational architecture to negotiate the constantly shifting cultural landscape of the postwar years. The Fun Palace was not a building in any conventional sense, but was instead a socially interactive (...) machine, highly adaptable to the shifting cultural and social conditions of its time and place. This constantly varying design for a new form of leisure center began in 1962 as a collaboration between Cedric Price and avant-garde theater producer Joan Littlewood. Littlewood had conceived of a new kind of theater designed to awaken the passive subjects of mass culture to a new consciousness. Her vision of a dynamic and interactive theater provided the programmatic framework on which Price would develop and refine his concept of an interactive, performative architecture, adaptable to the varying needs and desires of the individual. By assembling their own pedagogical and leisure environments using cranes and prefabricated modules in an improvisational architecture, common citizens could escape from everyday routine and serial existence and embark on a journey of learning, creativity, and individual fulfillment. The Fun Palace was one of the more innovative and creative proposals for the use of free time in postwar England. It also provided a model for the 1976 Centre Pompidou in Paris. (shrink)

La logométrie et l’Intelligence artificielle (deep learning) appliquées aux textes politiques permettent de repérer dans le discours d’Emmanuel Macron les emprunts linguistiques qu’il contracte auprès de ses prédécesseurs à l’Elysée (de Gaulle, Pompidou, Giscard, Mitterrand, Chirac, Sarkozy et Hollande). Les emprunts les plus importants, lexicaux autour de la valeur travail et énonciatifs autour de l’exhibition du « je » et du « je veux », concernent statistiquement Nicolas Sarkozy.

Laurent Le Bon, directeur du Centre Pompidou-Metz, dévoile au cours d’un entretien avec Roland Huesca l’histoire, les atours et les enjeux de l’écriture de plusieurs catalogues d’expositions : à l’affiche Dada, Chefs-d’œuvre ?..

Recent research on algebraic models of _quasi-Nelson logic_ has brought new attention to a number of classes of algebras which result from enriching (subreducts of) Heyting algebras with a special modal operator, known in the literature as a _nucleus_. Among these various algebraic structures, for which we employ the umbrella term _intuitionistic modal algebras_, some have been studied since at least the 1970s, usually within the framework of topology and sheaf theory. Others may seem more exotic, for their primitive operations (...) arise from algebraic terms of the intuitionistic modal language which have not been previously considered. We shall for instance investigate the variety of _weak implicative semilattices_, whose members are (non-necessarily distributive) meet semilattices endowed with a nucleus and an implication operation which is not a relative pseudo-complement but satisfies the postulates of Celani and Jansana’s strict implication. For each of these new classes of algebras we establish a representation and a topological duality which generalize the known ones for Heyting algebras enriched with a nucleus. (shrink)

Transcript of speeches by a Hindu philosopher, chiefly on Hindu philosophy and Hinduism.

Classical text on Nyaya and Vaiśeṣika philosophy; with Āloka Sanskrit commentary.

Classical work on Vedanta; includes Bhāṣyaratnaprabhā of Govindānanda and Śārīrakamīmāṃsābhāṣya of Śaṅkarācārya.

Classical work on Vedanta by Bādarāyaṇa; includes Śārīraka vijñānam bhāṣya of Śrī Madhusūdana Ojhā.

Purpose. The article is aimed to substantiate the view on the phenomenon of laughter as a subject of semiotic analysis, which leads to the following tasks: to reveal the possibilities of semiotics application in the study of laughter nature; to analyze the phenomenon of laughter as a cultural and natural phenomenon, as a sign and as an attribute; to consider the place of laughter in culture, which is understood as a sign system. Theoretical basis. The semiotic approach proceeds from the (...) fact that human lives in the world of signs, all the surrounding reality can be interpreted as a sign system. The basic concept of semiotics is the concept of a sign. The theoretical basis of the article is understanding the culture as a sign-symbolic system. Laughter is considered as a phenomenon ontologically rooted in human culture. At the same time, laughter is on the edge of culture. The research is based on the work of semiotic authors, cultural researchers, and the researchers of laughter. Originality. The originality lies in the application of the semiotic method to the research of laughter phenomenon, consideration of the dialectics of natural and cultural, signedness and non-signedness, manifested in the phenomenon of laughter. Conclusions. Laughter is considered as a psychophysiological phenomenon and as a cultural phenomenon. Laughter acts as an emotional manifestation, a physiological reaction, but socially and culturally mediated. In any case, laughter indicates an emotional or cognitive state of a human. Laughter acts as a process and result of the interpretation of a sign, a reaction to a sign. Laughter is a form and a means of communication. Being a natural phenomenon, in the process of social evolution, laughter acquires signedness, is integrated by culture as a sign system, and, at the same time, maintains a connection with nature. Thus, laughter occupies an ambivalent position between nature and culture. In the phenomenon of laughter, the dual state of human is revealed. In laughter, boundaries are blurred, the unity and opposition of natural and cultural, biological and social, soul and body, thought and feeling, sign and attribute are manifested. (shrink)

Eco-labels emphasize information disclosure as a tool to induce environmentally friendly behaviors by both firms and consumers. The goal of eco-labels is to reduce information asymmetry between producers and consumers over the environmental attributes of a product or service. However, by focusing on this information asymmetry, rather than on how the label meets consumer needs, eco-labels may send irrelevant, confusing, or even detrimental messages to consumers. In this article, the authors investigate how the environmental signal of eco-labels interacts with product (...) characteristics such as brand, quality, and price. In a discrete choice experiment, the authors examine consumer response to two similar eco-labels for wine, one associated with a quality reduction and the other not. The results show that respondents preferred both eco-labeled wines over otherwise identical conventional counterparts when the price was lower and the wine was from a lower quality region. However, they preferred conventional, more expensive wine from a high-quality region. This preference indicates that respondents not only obtain some warm glow value from eco-labeled wine but also possibly interpret eco-labeling as a signal of lower quality. This relationship held across both types of eco-labels, meaning that consumers did not understand the difference between them. This research contributes to the literature on information disclosure policies by highlighting important elements for effective eco-labels. These elements include consumer awareness and understanding of the eco-label, and consumer willingness to pay for an eco-labeled product. The results emphasize the need to create eco-labels that communicate clearly both the environmental attributes and the private benefits associated with them. (shrink)

We are immersed within an odorous sea of chemical currents that we parse into individual odors with complex structures. Odors have been posited as determined by the structural relation between the molecules that compose the chemical compounds and their interactions with the receptor site. But, naturally occurring smells are parsed from gaseous odor plumes. To give a comprehensive account of the nature of odors the chemosciences must account for these large distributed entities as well. We offer a focused review of (...) what is known about the perception of odor plumes for olfactory navigation and tracking, which we then connect to what is known about the role odorants play as properties of the plume in determining odor identity with respect to odor quality. We end by motivating our central claim that more research needs to be conducted on the role that odorants play within the odor plume in determining odor identity. (shrink)

This book completes medical care by adding the comprehensive humanistic perspectives and philosophy of medicine.

Purpose. To consider the uniqueness of Descartes’ way of interpreting poetry as a type of philosophizing that makes it possible to comprehend the metaphysical nature of man. Its implementation involves the consistent solution of the following tasks: a) understanding methodological changes in the philosophy of the 20th century in the process of actualization of anthropological interest; b) argumentation of the importance of poetic thinking for early Descartes in the process of addressing modern historians of philosophy and the thinker’s texts. Theoretical (...) basis. I rely on the conceptual positions of phenomenology, existentialism and hermeneutics. Originality. Finding of the study is that poetic thinking is the most authentic way of meaningful comprehension of the metaphysicity of man. The paper outlines the nature of the expression of this correlation in the philosophizing of the 20th-21th centuries and substantiates the thesis about the importance of the poetic principle for understanding the phenomenon of man in early works by Descartes. Conclusions. The paper examined the methodological shifts in anthropologically oriented philosophizing of the 20th-21th centuries and focused on the manifestations of related moments in the philosophical legacy of Descartes. The latter demonstrates the existence of a still underestimated version of interpreting the metaphysical foundations of human existence, the form of understanding of which is poetic thinking. It is a form of caring for the humane in man. (shrink)