Cet article examine la question de l’attention dans son rapport à l’admiration, dont le traitement fait apparaître de profondes divergences entre les Passions de l’âme et l’ Éthique. Dans Les Passions de l’âme, Descartes propose une genèse passionnelle de l’attention, dont la destination gnoséologique est assurée par un acte de la volonté qui transcende les perceptions de l’âme. À l’inverse, dans l’ Éthique, la connaissance ne dépend pas de l’exercice d’une faculté autonome, elle est immanente à l’ordre des idées, ce (...) à quoi l’admiration fait irréductiblement obstacle. La critique spinoziste de l’admiration s’accompagne alors d’une refonte du statut de l’attention et repose sur la critique de la partition cartésienne des facultés de l’âme. Nous montrerons néanmoins que l’attention a une fonction positive sous la forme d’une présence à soi de l’esprit qui veille à l’enchaînement en lui des idées vraies. (shrink)

Suivant le fil directeur du temps, cet ouvrage met au jour la manière dont l'admiration est devenue un problème philosophique central à l'âge classique et examine les différentes conceptions dont elle fait l'objet chez les principaux penseurs de la seconde moitié du XVIIe siècle.

Biological evolution provides a creative fount of complex and subtle adaptations, often surprising the scientists who discover them. However, because evolution is an algorithmic process that transcends the substrate in which it occurs, evolution’s creativity is not limited to nature. Indeed, many researchers in the field of digital evolution have observed their evolving algorithms and organisms subverting their intentions, exposing unrecognized bugs in their code, producing unexpected adaptations, or exhibiting outcomes uncannily convergent with ones in nature. Such stories routinely reveal (...) creativity by evolution in these digital worlds, but they rarely fit into the standard scientific narrative. Instead they are often treated as mere obstacles to be overcome, rather than results that warrant study in their own right. The stories themselves are traded among researchers through oral tradition, but that mode of information transmission is inefficient and prone to error and outright loss. Moreover, the fact that these stories tend to be shared only among practitioners means that many natural scientists do not realize how interesting and lifelike digital organisms are and how natural their evolution can be. To our knowledge, no collection of such anecdotes has been published before. This paper is the crowd-sourced product of researchers in the fields of artificial life and evolutionary computation who have provided first-hand accounts of such cases. It thus serves as a written, fact-checked collection of scientifically important and even entertaining stories. In doing so we also present here substantial evidence that the existence and importance of evolutionary surprises extends beyond the natural world, and may indeed be a universal property of all complex evolving systems. (shrink)

Les réseaux et systèmes d’information jouent un rôle essentiel dans la société. Un ensemble de dispositions visent à assurer leur sécurité a été adopté. L’objectif est de prévenir les cyber-risques. Pour cela, les opérateurs sont tenus de mettre en place des mesures techniques et organisationnelles adaptées aux risques posés par les réseaux et systèmes d’information, les produits, services et processus numériques. À partir de l’ensemble de ces dispositions, il est possible de découvrir un devoir général de sécurité numérique.

L’un des gestes distinctifs de Cornelius Castoriadis fut de rapporter l’histoire de la philosophie à un concept de création « ex nihilo », qu’il définissait comme surgissement immotivé et irréductible de nouvelles déterminations formelles de l’être dans le temps. Cet article s’intéresse à la signification d’un tel parti pris pour l’instruction de la question cosmologique, entendue comme enquête sur les principes et le devenir de la totalité de l’être. L’auteur montre dans un premier temps comment Castoriadis a justifié sa position (...) ontologique à partir d’une réflexion sur l’histoire de la science. Il la rapporte ensuite à deux voies possibles afin de résoudre la question cosmologique : la dialectique et la complexité. Il est soutenu que l’intention de Castoriadis ne fut pas de produire une cosmologie comme telle, mais de rapporter la pratique scientifique à la création et d’expliciter les conditions de possibilité de son intellection. (shrink)

Cet article propose une réflexion sur la manière d’appréhender, en milieu autochtone, la collecte et l’analyse des données, les deux dimensions de la recherche qui sont les plus vulnérables aux biais ethnocentriques. En optant pour une démarche qui part du point de vue des participants eux-mêmes, il est suggéré de porter un regard de l’intérieur et d’aller à la rencontre du savoir intime, culturellement et territorialement situé, afin d’éclairer les choix réflexifs et originaux que font les acteurs autochtones. Pour cela, (...) il est proposé d’opter pour l’approche biographique et d’adapter celle-ci en fonction des réalités et des demandes des partenaires de recherche autochtones. Cette adaptation doit s’effectuer à différentes étapes du processus, notamment à l’étape de l’analyse et de la valorisation des résultats. Il est notamment proposé que les récits biographiques ne devraient pas être considérés comme de simples données de terrain, mais plutôt comme un niveau d’analyse en soi et qu’à ce titre, ils devraient pouvoir avoir une existence propre, en dehors tout autant qu’au sein de la recherche. (shrink)

Au cœur de la prise en charge orthophonique, l’oralité est constituée des phénomènes psychologiques, biologiques et fonctionnels assurant la mise en œuvre du comportement oral de l’enfant. Cet article, écrit par une orthophoniste psychologue, expose en quoi l’oralité verbale se construit pour le jeune enfant conjointement à son oralité alimentaire. L’éducation gnoso-praxique orale précoce concerne l’oralité alimentaire et verbale en partenariat avec les parents. Les modalités d’interaction précoce, la valeur donnée aux comportements par l’entourage et les modes de réponse qui (...) en découlent ont un rôle essentiel et une dimension préventive face aux troubles de l’oralité. (shrink)

Au cœur de la prise en charge orthophonique, l’oralité est constituée des phénomènes psychologiques, biologiques et fonctionnels assurant la mise en œuvre du comportement oral de l’enfant. Cet article, écrit par une orthophoniste psychologue, expose en quoi l’oralité verbale se construit pour le jeune enfant conjointement à son oralité alimentaire. L’éducation gnoso-praxique orale précoce concerne l’oralité alimentaire et verbale en partenariat avec les parents. Les modalités d’interaction précoce, la valeur donnée aux comportements par l’entourage et les modes de réponse qui (...) en découlent ont un rôle essentiel et une dimension préventive face aux troubles de l’oralité. (shrink)

Les liens entre éducation et technique, bien antérieurs à l'apparition des «technologies de l'information et de la communication» , relèvent de plusieurs disciplines: informatique, sciences de l'éducation, sciences de la cognition et Sic... Les Sic ont des atouts: leurs approches interdisciplinaires permettent d'articuler les niveaux technique, social, sémiotique, politique et les objets et méthodes des sciences de l'information rejoignent pleinement ceux des sciences de la communication.The links between education and technology had existed for a long time before the emergence of (...) the so-called information and communication technologies. Analysis of these links comes within several fields of research such as computer science, education and cognitive sciences as well as information and communication sciences ,... ICS have obvious assets in their favour : their interdisciplinary approaches enable them to connect technical, social, semiotic and political levels. Moreover, the goals and methods of information sciences fully intersect with those of communication sciences. (shrink)

In his latest book, Descola analyzes more than 150 graphic works from all over the world, among which are animal statuettes of the Koryaks, a people of the Kamchatka region of Russia. Those figurines always represent animals lying in wait, ready to jump or already running. Such representations, the anthropologist argues, incline us to pay attention to what motivates and what troubles the animals: “All those animals that we see undertaking an action manifestly intentional or properly responding to unexpected events (...) cannot but impose on the observers of their image the idea that they are moved by aims, that they have an interiority just like humans.” This type of animal figuration is especially common in peoples that in Descola's previous book, Beyond Nature and Culture, he referred to as “animist.”In that book, published in 2005, he described the animist ontology and three other modes of paying attention to continuities and differences between humans and animals: naturalism, analogism, and totemism. At the time, he focused exclusively on the description of those ontologies, as opposed to any study of their evolution. He begins his study of the genesis of ontologies in Les formes du visible by suggesting that each type of graphic work induces a different way of paying attention to psychological and physical continuities and differences. For instance, in contrast to a Koryak statuette, an anatomical plate (to use a simple example not covered in the book) depicts only the body of a dead and dissected specimen. By referring simultaneously to an anatomical description of the human body and to that of another mammal, we tend to see how similar our bodies are. Whereas the animist ontology emphasizes the psychological continuity of humans and animals, the naturalist ontology insists instead on their physical continuity. By producing and using repeatedly some kinds of graphic works, each society comes to favor one or another ontology, one or another way of paying attention to the world. (Descola never says so in these words, but what he seems to mean by ontologies are modes of attention).Descola's questions in this new book are engaging: What do images make us pay attention to? What modes of attention do images stimulate? Each case study selected by the author is, moreover, fascinating in itself: an Amerindian mask, an Aboriginal painting on a piece of bark, a sixteenth-century Mongolian drawing of an elephant. The answers offered for the questions asked are unfortunately always already canvassed by the theory of the four ontologies. In previous work, Descola built that theory based on discursive and ethnographic material; sometimes we are left with the impression that images (as opposed to spoken words) do not make any significant difference, since they did not motivate him to modify in any way his theory in his new book.In addition, Descola's framework brings him to focus only on a particular aspect of what images induce in our modes of attention: in his thinking, ontologies are defined solely by the way we notice (or do not notice) differences and continuities between beings on two levels, physical and psychological, which respectively he terms the exteriority and the interiority of beings. By combining these two pairs of opposing features (continuity/difference, interiority/exteriority), he constitutes his four ontologies. But depictions can produce more fine-grained ontologies by making us pay attention to, say, the separation or the blending of bodies, the stability or fluidity of souls, the equality or inequality of power between beings. Moment by moment, while reading Descola, we find ourselves tied to his four ontologies and indeed find it almost impossible to imagine ontologies other than the four he has set out. In a structuralist vein, he even presents that number as a necessary, logical, and cognitive limit to the construction of ontologies. Nevertheless, by opening the analysis of the modes of attention to more than just the double pair of features picked out by the anthropologist, we could well unearth more diversified ontologies, induced by images (and by other cultural and technical particulars). We could detect, in other words, more than four modes of paying attention to our environment and to our companion beings. (shrink)

Une certaine relecture de Descartes est à l'origine de ce livre. En témoignent, par exemple, la place de l'animal dans la philosophie de l'homme, le rôle de l'image dans la pensée, l'interprétation du malin génie. On s'arrête trop souvent à l'idée de dualisme quand on parle de l'âme et du corps à propos de Descartes, mais c'est oublier l'interaction de l'âme et du corps qui caractérise pour lui l'homme vrai.

Magritte et les philosophes, written by a Belgian semiotician, puts in dialogue some paintings by René Magritte with some thoughts of Kant, Hegel, Nietzsche, Wittgenstein, Sartre, Foucault, and, in a chapter on La condition humaine, even Plato. Painted in 1933, La condition humaine represents a garden as seen from a salon, but in the room there is already a painting on an easel that represents the same garden. Because the second-order painting (the painting in the painting) is placed in front (...) of the window, we cannot see the full garden of the first-order painting. In it we see only the bottom of a hill and a part of a hedge, but in the second-order painting we see, in perfect continuity, the rest of the hill and the hedge. Thus we are inclined to think that the second-order painting covers exactly the reality it reproduces from the first-order painting and that, if we removed the second-order painting, we would see the same garden with a tree in the middle—a tree that for the moment we see only in the second-order painting.Therefore, some perceive in La condition humaine (and also in a similar painting, La belle captive) a parable of the transparency of painting. Opposing this position, Badir claims instead that “the pictures that are represented [that is, the second-order pictures] seem transparent; they give the sensation of transparency,... but their nature is totally different, and the painted landscapes in the [second-order] painting cannot make the representation [of the first-order painting] disappear.” We cannot superpose the painting over the reality to see whether the strokes of the painting cover exactly the lines of reality, since, if we do so, the painting gets between us and the garden. Still, we as observers cannot help but think that the second-order painting reproduces the reality behind it. But from where does that irresistible intuition come? Not from the resemblance between the picture and what it represents (since we know nothing about what is hidden by the picture), but from the continuity of the brushstrokes in the second-order painting and the lines of reality in the first-order picture.As in Plato's cave, in Magritte's room we have access to a semblance of reality, but in contrast to Plato, who regarded those shadows as pale imitations, Magritte offers us what may be a method of connecting semblance to reality less invidiously. The relation between the second-order picture and the first-order picture, between painting and reality, is not primarily a relation of analogy, since the analogy between the two orders is insinuated by other, nonanalogical relations—those of continuity and proximity between the brushstrokes of the painting and the lines of the garden. Even if Gilles Deleuze is not mentioned in Badir's book, this option seems to me to capture the gist of his critique of Platonism. When we are inclined to see a relation of analogy, Deleuze, like Magritte, wants us to pay attention to other, more diverse and more creative relations: nonanalogical relations that in some cases induce the sensation of resemblance.The title of Badir's book is Magritte and Philosophers, but it could just as well have been Magritte as Philosopher, because the classical philosophers he deals with play only a minor role as possible interlocutors for the painter. Magritte's thinking, as developed in his artwork, constitutes the main subject of this study. We learn while reading this book that painting can be a powerful tool for developing complex concepts and not merely percepts. Its argument may indeed be a critique of Deleuze's too-categorical distinction between the percepts proper to art and the concepts developed by philosophers. (shrink)

Dans l'oeuvre d'Edith Stein, l'alterite apparait comme constitutive de la personne humaine. D'un point de vue proprement subjectif, l'alterite renvoie... l'alter ego,... la dimension communautaire et, dans une perspective croyante, au Tout-Autre. D'un point de vue objectif, elle designe les valeurs, qui faconnent la personnalite, et la foi, qui vient au secours de la raison humaine. Un parcours des oeuvres principales de l'auteur permet de prendre la mesure... la fois de la continuite et de l'evolution de sa pensee. A partir (...) de l..., l'etude entreprend de mettre en evidence, d'une part, l'originalite de la pensee d'Edith Stein par rapport... celle de Husserl et, d'autre part, comment Edith Stein se situe par rapport... la pensee de Thomas d'Aquin. L'influence de l'oeuvre de Jean de la Croix est egalement abordee. Enfin, en dialogue avec des auteurs comme Ricoeur, Levinas ou Ladriere, la troisieme partie du livre aborde de maniere critique la question de l'alterite comme fondement de la personne et cela selon trois parcours, l'un lie... la phenomenologie d'Edith Stein, l'autre... sa philosophie chretienne, et le dernier... son attrait pour la mystique. (shrink)

In 1996, the anthropologist Eduardo Viveiros de Castro chose a sentence by Gilles Deleuze as the epigraph for an article, published in the Brazilian journal Mana, on Amerindian perspectivism. (A modified version of the article appeared in English two years later, in the Journal of the Royal Anthropological Institute.) Since then, Deleuze's name has appeared often in works about perspectivism, but Chamois's new book is the first monograph to focus on perspectivism and Deleuze. Among the most important contributions of Chamois's (...) analysis is to draw our attention to a little-known passage in a course, “Truth and Time,” that Deleuze taught in 1983 (and that is available for listening online). In it, he criticizes the example of the cube used as a paradigm, at least since Edmund Husserl's day, to conceptualize what a perspective is. It is impossible to see all six faces of a cube at the same time; thus, to “intuit” the cube as a cube, we must add to our own perception of a profile of the cube more possible points of view on it. The problem with this example and description is that it takes for granted that the subject already knows what she needs to see (a cube).Inspired, however, by the process philosophy of Alfred North Whitehead, Deleuze holds that each perception is an invitation to other perceptions: “To perceive is to become capable of perceiving more and more things that were initially not perceived” (percevoir, c'est devenir apte à percevoir de plus en plus de choses qui d'abord n’étaient pas perçues). Deleuze contrasts the “spatial” or “frozen” notion of perspective to the “temporal perspective” that he seeks to emphasize: “It's time that acts as perspective” (C'est le temps qui agit comme perspective). The question, therefore, at the heart of Deleuze's perspectivism is how a perspective changes over time. Chamois goes through the early texts of Deleuze to show how the idea of the temporal perspective emerged from the concept of the structure Autrui. The “structure-Other” is best exemplified by someone else's emotive face—the frightened face of my friend, for instance. If I perceive that face while, say, I am laughing, another possible world would slip into my own: a frightening world penetrates my humorous one, and perhaps I should turn my head to see what danger may be en route. As in the case of the cube, my own limited perception is supplemented by others’ limited perceptions. The object of perception in this case, however, is not presupposed to be stable (the world is changing), and what I am about to see is not known in advance.But what, precisely, in the face of the other must I notice to become aware of the world she perceives? Deleuze does not explore that question in any detail, but Chamois reviews recent anthropological and psychological research that supplies some elements of a response. To confront the writings of Deleuze with relevant scientific data is fruitful. I must admit, though, that I was a bit embarrassed by the framing of the discussion: Chamois presents Deleuze's concepts as hypotheses demanding verification that they are “corroborated by the facts.” For Deleuze, concepts are inseparable from percepts and affects; as opposed to a hypothesis, a concept is true not because it correlates to a set of relevant facts but because it helps us to perceive other aspects of the world (percept) and induces us to act better (affect). Thus, the minute and rewarding analysis of Chamois should be complemented with an assessment of what we learn to focus on and of how we change our actions thanks to the perspectivism of Deleuze—in contrast to other forms of perspectivism (or indeed to other cosmologies). (shrink)

The title of this book, by one of the great editors and publishers of our time, comes from its first and longest chapter: “How to Organize a Library.” In it, Calasso celebrates the “golden rule” proposed by Aby Warburg: “In the perfect library, when we look for a given book, we end up taking the one next to it, which would reveal itself even more useful than the one we were looking for.” It demands effort, knowledge, and sensibility to “curate” (...) such a library, where each book maintains good neighborly relations with the others. Such a library is an oeuvre requiring constantly to be maintained and refreshed, because a book is never a self-contained, self-sufficient object. Each book is connected to others in myriad and surprising ways.Calasso applies this relational understanding of books in a very short chapter on, reputedly, the first book review ever written: Madame de Sablé’s little note of 1665 on her friend La Rochefoucauld's Maximes. In that book, which prefigures some of Nietzsche's ideas, La Rochefoucauld argues that “most often our virtues are nothing but disguised vices” (Nos vertus ne sont, le plus souvent, que des vices déguisés). Before submitting her review to the Journal des Savants, which had been inaugurated only a few months earlier, Madame de Sablé sent it to La Rochefoucauld, asking him to amend it as needed or even to “throw it into the fire.” Calasso compares the original review and the corrected version that was eventually published. La Rochefoucauld erased many passages, making a short text (273 words) even shorter (189 words). In the process, he wiped out the first sentence, the most important, where Sablé summarized what she saw as the achievement of the Maximes: “It is a treatise about movements of the heart of man which we may say have been ignored until now” (C'est un traité des mouvements du cœur de l'homme, qu'on peut dire lui avoir été inconnus jusqu’à cette heure). Calasso comments: “Nothing more radical and more courageous could be written about the Maximes of La Rochefoucauld. However, the author of the work did not hesitate to cancel those very words—perhaps to avoid frightening people, himself included.” In other words, Calasso suggests that Sablé understood the Maximes better than its author did. The culture of book reviewing ushered in by Madame de Sablé taught and continues to teach us that a book may be more than its author believes it to be. Indeed, every book is in need of attentive and penetrating readers to discover its latent potentialities. (shrink)

Barba non facit philosophum. L'habit ne fait pas le moine. In those proverbs, Latin and French, we find the classical opposition between appearance and reality—between the accessory (the superficial, the beard, the clothing) and the essential (the profound, the philosopher, the monk), the latter being independent from and unchanged by the former. Berliner questions this dichotomy. As an anthropologist, he reviews many situations in which humans wear masks or use other techniques to cover their identities: cosplaying, puppy play, historical reenactments, (...) live-action role-playing, and the use of pseudonyms. Cosplayers, the subject of Berliner's first case study, impersonate characters from movies or video games. On the basis of lengthy interviews, he concludes that role-players change when they wear the costumes of their favorite heroes, behaving, for instance, with more self-confidence. A little psychological experiment not cited in this book suggests the same. In 2012, Hajo Adam and Adam Galinsky asked a group of students to perform a task demanding concentration. Those given a white medical coat to wear during the experiment performed better, probably because they were more prone to adopt traits and postures attributed to doctors—postures thought to enhance concentration. Berliner believes that, in the case of more immersive games, such changes are not necessarily temporary. They can persist after the acting is done. In other words, in some contexts at least, clothes can change the man.To impersonate a historical figure such as Napoleon, another case covered in Berliner's book, the reenactor must pay attention to minute details of the figure's life, habits, and social environment. The reenactor may then experience a moment de bascule, during which he is so much absorbed in his role that he forgets he is playing a character. As such, the activity of imitating is a way of learning some particular forms of paying attention to the individual serving as model. I regret that this aspect of disguise is not discussed when Berliner approaches animal role-playing. He affirms instead that identification with animals “rests upon our imagining what an animal is.” To imitate animals, however, we must first learn about, watch, and interact with them. Imitation is never fully based on the imagination; our imaginations are opened by prior, more or less proximate interactions with the beings that serve as models. It is far from easy to imagine, out of the blue, using our bodies in the ways that imitating animals requires.Despite the book's title, Becoming Other, Gilles Deleuze is barely mentioned in it, probably because he was very critical of the concept of imitation, which is omnipresent in Berliner's thought. Still, the way in which Berliner uses the concept is Deleuzian to a degree. Deleuze is skeptical of the concept of imitation because the success of an imitation is usually judged by whether the model and the imitation correspond in appearance—the imitation, in that case, does not bring any novelty to the world. In contrast to Deleuze, who proposes to abandon the concept of imitation, Berliner invites us to study it in new ways. Indeed, his book teaches us how creative imitation can be. What counts is not whether an imitation is successful but whether it is fruitful, and that we measure by whether it transforms us. The imitator does not become an alter ego of the model impersonated but a superego, an ego more aware of all its capacities. Even if it is never made explicit, the contrast between successful and fruitful—a contrast dear to Vinciane Despret—structures Berliner's analyses, which are a valuable contribution not only to anthropology but also to philosophy. (shrink)

Operational distinction : it is capitalism as a totalitary system that must be fought and not capitalist enterprise as such or merchant exchange in general. Theoretical unification : the three major problems - environment, women and youth - must be analysed in the light of this totalitarian capitalist concept.

Les auteurs visent à faire constater l'importance accordée à la pratique épistémologique dans la compréhension du monde politique et à nous interroger sur le rôle du savoir dans la construction d'un ordre social. [SDM].

ABSTRACT The law, in its majestic equality, forbids the rich as well as the poor to sleep under bridges, to beg in the streets, and to steal bread. (Jacques Anatole François Thibault).