In the vein of a renewed interest in diagrammatic reasoning, this paper challenges an opposition between logic diagrams and formal languages that has traditionally been the common view in philosophy of logic and linguistics. We examine, from a philosophical point of view, what we call five dogmas of logic diagrams. These are as follows: (1) diagrams are non-linguistic; (2) diagrams are visual representations; (3) diagrams are iconic, and not symbolic; (4) diagrams are non-linear; (5) diagrams are heterogenous, and not homogenous. (...) Using historical examples, we argue that none of these dogmas is an adequate criterion to distinguish logic diagrams from formal languages. Instead, we advocate that there is a common core between linguistic and diagrammatic representation and reasoning. (shrink)

Ce compte rendu a déjà paru sur le site de la revue Études. A. Sueur, Vie de Joachim Burmeister, Paris, Rhuthmos, 2019, 103 p. Joachim Burmeister est connu, dans toutes les histoires de la musique, comme celui qui, le premier, a proposé, autour de 1600, une analyse rhétorique des œuvres musicales : celles-ci ne sont plus désormais comprises comme de belles formes reproduisant la splendeur et l'unité des structures du monde, selon la grande approche médiévale, mais comme des discours - (...) Recensions. (shrink)

Tenue le 6 novembre 2021, à l’Hôtel de Ville de Grenoble, dans le cadre du débat « Validisme, intersectionnalité, lutte pour les droits », cette conférence vise à examiner différents biais sur lequel repose l’invisibilisation des artistes handicapé·e·s. J’y explique notamment comment, pendant longtemps, il m’a été impensable d’être artiste : plus qu’inatteignable, cet horizon m’était inimaginable. C’est l’occasion de revenir sur la production sociale de cet inimaginable, ainsi que sur les moyens mis en œuvre pour déverrouiller mon imaginaire et (...) me sentir peu à peu légitime à me définir comme artiste. (shrink)

Les Quatre Saisons de Vivaldi imitent-elles les bruits du monde? Peut-on penser l'histoire de la musique comme une libération progressive de la contrainte imitative, d'un ancrage naturel ou même naturaliste? Beethoven, Berlioz, Schumann, Wagner ou Debussy constituent-ils les étapes qui aboutissent à une musique pure? Le romantisme a fait de la musique le paradigme de l'Art en la concevant comme un langage délivré du poids du sens, un art abstrait » parce qu'autonome. Par la richesse savante des auteurs et des (...) œuvres examinés, par les repères chronologiques et théoriques mis en lumière, l'anthologie proposée ici est une véritable histoire de la pensée sonore et de la pratique musicale du XVIIIe siècle au début du XXe siècle. Le mélomane, le musicologue, comme l'historien ou le philosophe de l'art, pourront évaluer d'un œil neuf les liens de l'imitation et de l'expression, la dispute de l'abstraction et les rapports que les arts entretiennent à la signification. (shrink)

Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the (...) figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon's notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arise out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain stability within a system. In the case of archival films in which transduction occurs without prior intention or expectation, transduction can be foregrounded and prolonged. The connection between transduction and the “trembling meaning” of Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of film matter and its interferences with the figurative content. (shrink)

Simeon Solomon was a Pre-Raphaelite artist who navigated the modernity of VictorianEngland to create works revolving around explicitly Jewish themes; often creating overtly Jewish images, highly unusual among the generally explicitly Christian movement. This article will deal with how Solomon constructed and dealt with his own identity as a Gay, Jewish man in the modern, and heavily Christian environment of mid-nineteenth century Victorian London. Using contemporary approaches to historicism, observation, and spirituality, his works deal with the complexities of his identity (...) as Jewish and homosexual in a manner where neither was shameful, but rather, sources of inspiration. (shrink)

Victorian scriptural hermeneutics : history, intention, and evolution -- Intertext 1 : Victorian legal interpretation -- Carlyle : between biblical exegesis and romantic hermeneutics -- Intertext 2 : Victorian science and hermeneutics : the interpretation of nature -- George Eliot's hermeneutics of sympathy -- Intertext 3 : Victorian literary criticism -- Subjectivism, intersubjectivity, and intention : Oscar Wilde and literary hermeneutics.

1. Bd. Die Relativitätstheorie fällt : physikalische, philosophische, wissenschaftssoziologische und allgemeinverständliche Korrektur : hundert Jahre Kultus des Irrtums sind genug -- 3. Bd. Die Urknalltheorie fällt.