Name der Zeitschrift: Cognitive Linguistics Jahrgang: 26 Heft: 4 Seiten: 613-632.

Children who experience well-being are engaging more confidently and positively with their caregiver and peers, which helps them to profit more from available learning opportunities and support current and later life outcomes. The goodness-of-fit theory suggests that children’s well-being might be a result of the interplay between their temperament and the environment. However, there is a lack of studies that examined the association between children’s temperament and well-being in early childhood education and care, and whether this association is affected by (...) ECEC process quality. Using a multilevel random coefficient approach, this study examines the association between toddlers’ temperament and well-being in Norwegian ECEC and investigates whether process quality moderates this association. Results reveal an association between temperament and well-being. Staff-child conflict moderates the association between shyness and well-being, and between activity and well-being. Moreover, high emotional behavioral support moderates the association between activity and well-being. Extra attention should be paid by the staff to these children’s needs. (shrink)

The legitimacy of the dominant intensive meat production system with respect to the issue of animal welfare is increasingly being questioned by stakeholders across the meat supply chain. The current meat supply is highly undifferentiated, catering only for the extremes of morality concerns (i.e., conventional vs. organic meat products). However, a latent need for compromise products has been identified. That is, consumer differences exist regarding the trade-offs they make between different aspects associated with meat consumption. The heterogeneity in consumer demand (...) could function as a starting point for market segmentation, targeting and positioning regarding animal welfare concepts that are differentiated in terms of animal welfare and price levels. Despite this, stakeholders in the meat supply chain seem to be trapped in the dominant business model focused on low cost prices. This paper aims to identify conflicting interests that stakeholders in the meat supply chain experience in order to increase understanding of why heterogeneous consumer preferences are not met by a more differentiated supply of meat products produced at different levels of animal welfare standards. In addition, characteristics of the supply chain that contribute to the existence of high exit barriers and difficulty to shift to more animal-friendly production systems are identified. Following the analysis of conflicting interests among stakeholders and factors that contribute to difficulty to transform the existing dominant regime, different routes are discussed that may help and motivate stakeholders to overcome these barriers and stimulate the creation of new markets. (shrink)

Research on social influences often distinguishes between social and quality incentives to ascribe meaning to the value that popularity conveys. This study examines the neural correlates of those incentives through which popularity influences preferences. This research reports an functional magnetic resonance imaging experiment and a behavioral task in which respondents evaluated popular products with three focus perspectives; unspecified focus, focus on social aspects, and focus on quality. The results show that value derived with a social focus reflects inferences of approval (...) and reward value, and positively affects preferences. Value derived with a quality focus reflects inferences of quality and negatively affects preferences. This study provides evidence of two distinct inferential routes on both a neurological level, represented by different regions in the brain, and a behavioral level. These results provide the first evidence that a single popularity cue can in different ways influence the value derived from product popularity. (shrink)

Este artigo visa discutir o aparente paradoxo que encerra a ideia de contemporâneo e de anacronismo, já que o primeiro contém a ideia de uma atualidade, ao passo que a segunda uma de defasagem. No entanto, pretende-se mostrar como esta vinculação pode desfazer um certo desconforto que uma certa separação entre “moderno” e “contemporâneo”, baseado na explosão dos suportes tradicionais da arte nos anos 1960 produziu. Este desconforto nasce do fato de que esta divisão se baseia muito fundamentalmente nos discursos (...) de “ruptura”, típicos da arte moderna o que levaria a uma concepção teleológica na passagem para o “contemporâneo”. Assim, o artigo convoca três autores – que têm uma referência marcada em Walter Benjamin – que buscam entender o contemporâneo como o anacrônico: Giorgio Agamben, Georges Didi-Huberman e Peter Osborne. Passando por uma referência à obra de Vilém Flusser, o artigo discute esta questão em relação ao Brasil. Finalmente o artigo sustenta que se os dois primeiros autores pensam o anacronismo como uma relação positiva com o passado, por causa da capacidade de relacionar diferentes épocas sem uma visão cronológica, o autor inglês, por seu turno, tem uma postura crítica ao caráter anacrônico da obra de arte contemporânea na medida em que este se adequa bem ao capitalismo global atual. (shrink)

Review of Georges Didi-Huberman (2022) Het Voortleven van de Vuurvliegjes. Vertaling: Ineke van der Burg. Amsterdam: Octavo Publicaties.

Study and teaching of languages in Indonesia.

A model predictive control method based on recursive backpropagation neural network and genetic algorithm is proposed for a class of nonlinear systems with time delays and uncertainties. In the offline modeling stage, a multistep-ahead predictor with GA-RBP neural network is designed, where GA-BP neural network is used as a one-step prediction model and GA is employed to train the initial weights and bias of the BP neural network. The incorporation of GA into RBP can reduce the possibility of the BP (...) neural network falling into a local optimum instead of reaching global optimization. In the online optimizing stage, a multistep-ahead GA-RBP neural network predictor and an improved gradient descent method are proposed to efficiently solve the online optimization problem of nonlinear MPC by minimizing a modified quadratic criterion. The designed MPC strategy can avoid information loss while linearizing the controlled system and computing the Hessian matrix and its inverse matrix. Experimental results show that the proposed approach can reduce the computational burden and improve the performance of MPC for the solution of nonlinear controlled systems. (shrink)

This book is about the interrelationship between nature, semiosis, metarepresentation and (self-)consciousness, and the role played by metarepresentation in ...

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in (...) the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries. (shrink)

In this article, I examine the relation between Bateson and Guattari’s ecological thoughts: two thinkers whose ecological ideas at first sight have a lot in common. In order to show the difference between the thoughts of both thinkers, I will take my clue from Guattari’s remark that he parts ways with Bateson on the role of context. Explaining the role of context in both authors will allow me to show how Guattari’s thought implies both an endorsement and a critique of (...) cybernetics, and, specifically, promoting a machinic rather than cybernetic ecology. I will conclude by indicating what is at stake in this distinction. (shrink)

Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance.

In this paper I address the current debate on ontic versus epistemic conceptualizations of mechanistic explanation in the mechanisms literature. Illari recently argued that good explanations are subject to both ontic and epistemic constraints: they must describe mechanisms in the world in such fashion that they provide understanding of their workings. Elaborating upon Illari’s ‘integration’ account, I argue that causal role function discovery of mechanisms and their components is an epistemic prerequisite for achieving these two aims. This analysis extends Illari’s (...) account in important ways, putting more pressure on ontic readings of mechanistic explanation and providing an answer to the question how ontic and epistemic constraints on mechanistic explanation are related. I argue these point in terms of cases on memory research drawn from neuroscience and research on extinct neurogenetic mechanisms from early nervous systems biology. (shrink)

The legitimacy of the dominant intensive meat production system with respect to the issue of animal welfare is increasingly being questioned by stakeholders across the meat supply chain. The current meat supply is highly undifferentiated, catering only for the extremes of morality concerns (i.e., conventional vs. organic meat products). However, a latent need for compromise products has been identified. That is, consumer differences exist regarding the trade-offs they make between different aspects associated with meat consumption. The heterogeneity in consumer demand (...) could function as a starting point for market segmentation, targeting and positioning regarding animal welfare concepts that are differentiated in terms of animal welfare and price levels. Despite this, stakeholders in the meat supply chain seem to be trapped in the dominant business model focused on low cost prices. This paper aims to identify conflicting interests that stakeholders in the meat supply chain experience in order to increase understanding of why heterogeneous consumer preferences are not met by a more differentiated supply of meat products produced at different levels of animal welfare standards. In addition, characteristics of the supply chain that contribute to the existence of high exit barriers and difficulty to shift to more animal-friendly production systems are identified. Following the analysis of conflicting interests among stakeholders and factors that contribute to difficulty to transform the existing dominant regime, different routes are discussed that may help and motivate stakeholders to overcome these barriers and stimulate the creation of new markets. (shrink)

When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and (...) contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.” To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. _Confronting Images_ also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s _Lacemaker_. (shrink)

When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and (...) contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.” To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. _Confronting Images_ also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s _Lacemaker_. (shrink)

Some alethic pluralists maintain that there are two kinds of truths operant in our alethic discourse: a realist kind and an anti-realist kind. In this paper, we argue that such a binary conception cannot accommodate certain social truths, specifically truths about race. Most alethic pluralists surprisingly overlook the status of racial truths. Douglas Edwards is, however, an exception. In his version of alethic pluralism—Determination Pluralism—racial truths are superassertible (anti-realist) true rather than correspondence (realist) true. We argue that racial truths exhibit (...) features of both superassertibility (anti-realism) and correspondence (realism). This suggests a fuzzy boundary between realist and anti-realist kinds of truth. There may be a continuum rather than a dichotomy of truths. We conclude by sketching one way for alethic pluralists to accommodate such a notion. (shrink)

This paper investigates conceptions of explanation, teleology, and analogy in the works of Immanuel Kant (1724-1804) and Georges Cuvier (1769-1832). Richards (2000, 2002) and Zammito (2006, 2012, 2018) have argued that Kant’s philosophy provided an obstacle for the project of establishing biology as a proper science around 1800. By contrast, Russell (1916), Outram (1986), and Huneman (2006, 2008) have argued, similar to suggestions from Lenoir (1989), that Kant’s philosophy influenced the influential naturalist Georges Cuvier. In this article, I wish to (...) expand on and further the work of Russell, Outram, and Huneman by adopting a novel perspective on Cuvier and considering (a) the similar conceptions of proper science and explanation of Kant and Cuvier, and (b) the similar conceptions of the role of teleology and analogy in the works of Kant and Cuvier. The similarities between Kant and Cuvier show, contrary to the interpretation of Richards and Zammito, that some of Kant’s philosophical ideas, whether they derived from him or not, were fruitfully applied by some life scientists who wished to transform life sciences into proper sciences around 1800. However, I also show that Cuvier, in contrast to Kant, had a workable strategy for transforming the life sciences into proper sciences, and that he departed from Kant’s philosophy of science in crucial respects. (shrink)

Aby Warburg’s Mnemosyne Atlas (1925–1929) is a prescient work of mixed media assemblage, made up of hundreds of images culled from antiquity to the Renaissance and arranged into startling juxtapositions. Warburg’s allusive atlas sought to illuminate the pains of his final years, after he had suffered a breakdown and been institutionalized. It continues to influence contemporary artists today, including Gerhard Richter and Mark Dion. In this illustrated exploration of Warburg and his great work, Georges Didi-Huberman leaps from Mnemosyne Atlas (...) into a set of musings on the relation between suffering and knowledge in Western thought, and on the creative results of associative thinking. Deploying writing that delights in dramatic jump cuts reminiscent of Warburg’s idiosyncratic juxtapositions, and drawing on a set of sources that ranges from ancient Babylon to Walter Benjamin, Atlas, or the Anxious Gay Science is rich in Didi-Huberman’s trademark combination of elan and insight. (shrink)

This book focuses on the game-theoretical semantics and epistemic logic of Jaakko Hintikka. Hintikka was a prodigious and esteemed philosopher and logician, and his death in August 2015 was a huge loss to the philosophical community. This book, whose chapters have been in preparation for several years, is dedicated to the work of Jaako Hintikka, and to his memory. This edited volume consists of 23 contributions from leading logicians and philosophers, who discuss themes that span across the entire range of (...) Hintikka’s career. Semantic Representationalism, Logical Dialogues, Knowledge and Epistemic logic are among some of the topics covered in this book's chapters. The book should appeal to students, scholars and teachers who wish to explore the philosophy of Jaako Hintikka. (shrink)

Einige fragmentarische Bemerkungen zu Erscheinen und Verschwinden in poetischem und philosophischem Stil. Some fragmentary reflections, in a poetic and philosophical way, about appearance and disappareance.

Que ce soit dans la vie quotidienne ou dans l'art, le geste se confronte toujours à l'œuvre dont il est la cause. Or que se passe-t-il quand le geste est œuvre? Quand œuvrer n'est plus réduit à un résultat objectif mais maintenu intact dans son état de faire? Une ouverture sur une complexité théorique du geste et de ses possibilités chorégraphiques s'affirme. Les textes réunis dans ce recueil défendent la pertinence de l'idée de geste et en décrivent la méthode: l'intempestif, (...) l'impersonnel, l'incidence. Geste à l'œuvre maintient les gestes dans leur caractère intrinsèquement pluriel: un geste se compose en effet d'une myriade de micro-gestes, d'une somme incalculable d'ajustements corporels qui viennent former imperceptiblement ce qui apparaît comme un geste. L'unité fragile de ce dernier se dissout dans une infinitude potentielle de petits gestes. Ces essais explorent ce potentiel en pratiquant le croisement de multiples, pratiques gestuelles dans le champ de l'art et de la théorie philosophique. Quand le geste est œuvre cette dernière ne disparaît pas pour autant: elle existe en tant que processus et expérience. Ainsi les différentes disciplines convoquées ici placent l'œuvre dans le geste et mettent le geste à l'œuvre. Voici donc ce qui constitue à la fois la problématique et le parti de cet ouvrage: rendre compte des gestes, de l'actualité tangible du faire et de l'identification possible entre le concept de geste et celui d'œuvre d'art. (shrink)

The Russian invasion of Ukraine on February 24, 2022, has already caused large amounts of greenhouse gas (GHG) emissions and will continue to do so for manyyears after hostilities have ceased mainly because of the emissions linked to the rebuilding of destroyed or damaged housing, public buildings, infrastructure, factories, and the like. My aim in this paper is to discuss how in a time of climate emergency such emissions of war should impact the political morality of states initiating, continuing, and (...) ending war (through a just and enduring peace) as understood by just war theory (JWT). My point of departure is a study by Lennard de Klerk and six co-authors detailing the emissions of the first year of the Russo-Ukrainian war. (shrink)

Sur quels critères Malraux a-t-il bâti ses associations d'oeuvre de cultures différentes dans son "Musée imaginaire"? Une question d'actualité à l'heure où les musées mêlent oeuvres occidentales et arts primitifs ou arts contemporains et arts anciens dans une même présentation. Georges Didi-Huberman, philosophe et historien de l'art, enseigne actuellement à l'École des hautes études en sciences sociales de Paris. 0Avec plus d'une trentaine de livres publiés depuis 1982, il est aujourd'hui l'un des théoriciens les plus actifs dans le paysage (...) contemporain des recherches sur l'image. Les conférences de la Chaire du Louvre et le livre qui les accompagne concernent le Musée imaginaire d'André Malraux. Il s'agira d'interroger le travail d'André Malraux sur les illustrations de son Musée imaginaire, travail explicitement inspiré par le Benjamin de la "reproductibilité technique" et de "l'auteur comme producteur. (shrink)

This essay, in the form of a letter written to director László Nemes in the immediate aftermath of viewing Son of Saul, is at once a critical reading of the film within a larger theoretical framework and a subjective emotional response to seeing on the screen something of the author’s own “most harrowing nightmares.” While bringing Nemes’s film into conversation with Maurice Blanchot, Theodor Adorno, Walter Benjamin, the Hassidic tale and ancient myths, Georges Didi-Huberman returns to his reflections in (...) Images in Spite of All (2008) on the four photographs taken clandestinely of the gas chambers in Auschwitz by one of the Sonderkommando. Son of Saul presents the allegory of Saul whose job as a Sonderkommando is to drag countless corpses to the crematorium where they will be reduced to ashes but who sets out on a mad, single-minded quest to give a proper burial, complete with the recitation of kaddish, to the body of one boy. According to the author, the film marks the invention of the “documentary tale” genre, combining Benjamin’s notions of montage based on the document, as manifested in the work of Marcel Proust, James Joyce, and Alfred Döblin, and that of the dying art of storytelling, intimately bound up as it is with the authority of the dying. Thus, the dead child drowning at the end of the film stands as an inversion of the story of Moses, a living child saved from drowning, just as the real historic death of the Jewish people reverses the mythical Biblical birth of the Jewish people. (shrink)

What Is a People? seeks to reclaim "people" as an effective political concept by revisiting its uses and abuses over time. Alain Badiou surveys the idea of a people as a productive force of solidarity and emancipation and as a negative tool of categorization and suppression. Pierre Bourdieu follows with a sociolinguistic analysis of "popular" and its transformation of democracy, beliefs, songs, and even soups into phenomena with outsized importance. Judith Butler calls out those who use freedom of assembly to (...) create an exclusionary "we," while Georges Didi-Huberman addresses the problem of summing up a people with totalizing narratives. Sadri Khiari applies an activist's perspective to the racial hierarchies inherent in ethnic and national categories, and Jacques Rancière comments on the futility of isolating theories of populism when, as these thinkers have shown, the idea of a "people" is too diffuse to support them. By engaging this topic linguistically, ethnically, culturally, and ontologically, the voices in this volume help separate "people" from its fraught associations to pursue more vital formulations. Together with Democracy in What State?, in which Giorgio Agamben, Alain Badiou, Daniel Bensaid, Wendy Brown, Jean-Luc Nancy, Jacques Rancière, Kristin Ross, and Slavoj i ek discuss the nature and purpose of democracy today, What Is a People? expands an essential exploration of political action and being in our time. (shrink)

“Reading Anew” was originally presented as a speech at the awards ceremony for the Warburg Prize in Hamburg, 26 October 2021.

Decentralized clinical trials (DCTs) have the potential to advance the conduct of clinical trials, but raise several ethical issues, including obtaining valid informed consent. The debate on the ethical issues resulting from digitalization is predominantly focused on direct risks relating to for example data protection, safety, and data quality. We submit however, that a broader view on ethical aspects of DCTs is needed to touch upon the new challenges that come with the DCT practice. Digitalization has impacts that go beyond (...) its direct purposes, by shaping behaviors, experiences, social relations, and values. We examine four elements of the informed consent procedure that are affected by DCTs, while taking these soft impacts of technologies into account: (i) informing participants and testing understanding, (ii) freedoms in relation to responsibilities and burdens, (iii) trust in participant-researcher relations, and (iv) impacts on the concept of privacy. Our analysis reveals that a broad view is key for optimal conduct of DCTs. In addition, it provides insight into the ethical impacts of DCTs on informed consent. Technologies such as DCTs potentially have profound impacts which are not immediately addressed by the existing regulatory frameworks, but nonetheless important to recognize. These findings can guide future practices of DCTs to foster the important values of clinical research in this novel approach for conducting clinical trials. (shrink)

Choses vues, non, pas même vues jusqu'au bout. Choses simplement entrevues, aperçues. Etres qui passent, souvent au féminin pluriel, comme la Béatrice de Dante, Laura de Pétrarque, la " nymphe " d'Aby Warburg, la Gradiva de Jensen et de Freud ou la " passante " anonyme des rues parisiennes selon Charles Baudelaire. Créatures ou simples formes qui surgissent ou qui tombent. Instants de surprise, ou d'admiration, ou de désir, ou de volupté, ou d'inquiétude, ou de rire. Impressions enfantines, deuils. Colères (...) aussi. Réflexions esquissées. Instants critiques. Ou descriptions, tout simplement. Phraser le passage des aperçues? Comme un recueil de circonstances, de visions en bribes, d'émotions inattendues, de pensées qui s'inventent devant des choses ou des êtres apparaissants, apparus et, très vite, disparaissants, disparus. Une phénoménologie, une poétique, une érotique du regard s'esquissent. Tout cela devenu, sans crier gare, un journal sans continuité, un ensemble de récits sans personnages bien définis, un autoportrait sans visage unique. Remonter ce journal en désordre. Découvrir, alors, qu'il était fait d'occasions (où les temps passent vite), de blessures (où les temps frappent fort), de survivances (où les temps reviennent toujours) et de désirs (où les temps adviennent pour un futur entraperçu). (shrink)

Starting from the hypothesis that we are faced with pictures as dynamic entities and as actions, this article investigates scenes of (political) confliict and of fight in Pasolini's films. Priority is given to the rhythmic quality of Pasolini's vital realism, which also characterises his application of montage as a procedure of contamination. Abigioia – that abysmal joy, which is based on the fear of and the longing for the lost life – here determines the poetics of anachronistic and impure sacredness.

The article presents some notes for an anthropology of the gestures of uprising [soulèvement]. It argues that, just as sounds always come out of the mouth of the demonstra- tors, images of all kinds are also brandished at the end of their arms. Based on this the article raises the question of the very notion of a desire for uprising.

"Nous avions beaucoup enduré et puis, un jour, nous nous sommes dit que cela ne pouvait plus durer. Nous avions trop longtemps baissé les bras. A nouveau cependant - comme nous avions pu le faire à l'occasion, comme d'autres si souvent l'avaient fait avant nous - nous élevons nos bras au-dessus de nos épaules encore fourbies par l'aliénation, courbées par la douleur, par l'injustice, par l'accablement qui régnaient jusque-là. C'est alors que nous nous relevons : nous projetons nos bras en (...) l'air, en avant. Nous relevons la tête. Nous retrouvons la libre puissance de regarder en face. Nous ouvrons, nous rouvrons la bouche. Nous crions, nous chantons notre désir. Avec nos amis nous discutons de comment faire, nous réfléchissons, nous imaginons, nous avançons, nous agissons, nous inventons. Nous nous sommes soulevés." Ce livre est un essai de phénoménologie et d'anthropologie - voire une poétique - des gestes de soulèvement. Il interroge les corps avec la psyché à travers le lien profond, paradoxal, dialectique, qui s'instaure entre le désir et la mémoire. Comme il y a "ce qui nous regarde" par-delà "ce que nous croyons voir" ; il y aurait peut-être "ce qui nous soulève" par-delà "ce que nous croyons être". C'est une question posée en amont - ou en dedans - de nos opinions ou actions partisanes : question posée, donc, aux gestes et aux imaginations politiques. Question posée à la puissance de se soulever, même lorsque le pouvoir n'est pas en vue. Cette puissance est indestructible comme le désir lui-même. C'est une puissance de désobéir. Elle est si inventive qu'elle mérite une attention tout à la fois précise (parce que le singulier, en l'espèce, nous dit plus que l'universel) et erratique (parce que les soulèvements surgissent en des temps, en des lieux et à des échelles où on ne les attendait pas). (shrink)

Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage (...) – in Malraux. Through this praxis of montage, Malraux constructs the authority of his visual style and the closure of the literary field. Above all, however, we discuss critically the anti-historical and anti-political destiny of his aesthetics, which in the end is quite far from Benjamin’s, and we conclude with a comparison between two contemporary artworks, namely Malraux’ Le Musee imaginaire de la sculpture mondiale and Les Statues meurent aussi, a film by Chris Marker and Alain Resnais. (shrink)