Plastir Number 17 – 12/2009

IN SHORT: THE CREATION

Gladys FABRE  is writer, historian and critical of Art. Independent Commissar, she also contributed to the development of the film Orlan, Carnal Art of which the critic Gerard Delorme said  » (…) Orlan belongs to another millennium, where some artists and followers of the science fiction imagined the future while playing with the concept of transhumanity. » (Première Journal).She is devoted in this work to an in-depth analysis of the scriptural work realized for the Wordwork exposure by Joelle Dautricourt, a graphic designer and sculptor in Paris, from which we will publish the research work later on. Wordwork means word-work literally, in other words that the word is matter with work, that it works as it is worked, that it is a true plastic entity. Gladys Fabre thus shows very well how the artist uses the configurations of his Wordwork plugs with an aim of changing the reading levels, to pass from the form to the contents and vice versa while exploiting the assonances or visual effects. However, more one penetrates this graphic universe, more one realizes that it leads us to other languages, in other worlds, the revelation of the scriptural mystery per se. One is taken in a spiral resulting in foreseeing the mysticism of the writing, with reading this message through a woman sensitivity registered in the tradition of the Kabala, like Gysin – cited by the author – falls under the Sufism. The “people of the book” cannot miss this rendezvous… In the field of artistic creation, Gladys Fabre raises that the research of Joelle Dautricourt does not fit in the deconstruction like surrealism or the movement or ultra-lettrism, but in a way of opening; the same means (the photocopier) there being employed at opposed ends, here the search for a new space of deployment, new dimensions or plasticity. The result of it will be as more pursuant, different that it geometrise the forms, the colours, the words, the – real or imaginary – chromatics, the meaning, the poetics with this distance, this woman sensitivity suitable for the gestation of the work of Art.

TWO PREPARED PIANOS: FOURTH PART – METAPHYSICAL TRANSPOSITIONS

Mariana THIÉRIOT LOISEL is coordinator of the Faculty of Philosophy of the Monastery of Saint Benoit in Sao Paulo in Brazil. She carried out a post-doctorate in philosophy of education at the Laval University in Canada under the direction of professor Thomas De Koninck centred on the study of the human changes of which we publish the totality in PLASTIR. The first part of this work: “In the shade: desire and neutrality” were published in PLASTIR n°14, the second and third parts in PLASTIR n°16. The fourth part treats this time of the articulation between consciousness of non-intentional (erroneous evaluations and accidents which follow), the judicious human changes (right revaluations), the acts of speech (formal and non-formal ethical codes) and finally the metaphysical transposition like result of these judicious human changes. The author gives many examples of this contextualized articulation which it is about policy with the genocides or the value of work, of the competitive process of the scientific research, the complexity of the human relations or the role of the metaphysicians and the contemporary philosophers vis-à-vis their peers. A concept out of spring: rather than to seek the absolute truth, it would be to better support “the setting in question of the metaphysical direction of this truth and rational confrontation between the text and the context” and their transposition. In this slow change rises from the human phenomenon “carrying an immanent reality” upstream “and a transcendent capacity: metaphysics” translated downstream by “the language, with the source of the human evolution”.

TWO PREPARED PIANOS: FITH PART – LEGISLATION, PLASTICITE ET MUTATION: IN THE NAME OF THE FATHER

Mariana THIÉRIOT LOISEL introduced into this last part the concept of plasticity of the human changes by applying it to the legislature, the professional deontology and the transdisciplinary ethics which we try all to promote. And that passes once again by the phenomenological approach, in particular with Husserl, even the psychoanalysis under the Lacanian aegis in order to show the impotence of modern science vis-à-vis these changes understood like topics, foolish and without bases. Mariana Thieriot raises the question thus: “Which are the normative bases which give impulsion to the act of speeches or the absence of normative bases, of bond of foundation, standards which drive one insistent logorrhoea, stripped of bases ? ”. To answer it, axiology of Ricoeur which seeks the direction of the human values through his semantics or the philosophy of Husserl opposing intuitive and non-intuitive conscience, inviting to a neutrality of action as a methodological standpoint and implying various forms of conditioning or positional changes. This imply an urgent need to codify the professional deontology and more generally the society mutation in order to avoid the ethical conflicts which do not cease multiplying, and that of the respect of the human identity and the plasticity of the democratic principles.

ADONIS AND THE TRANSRELIGIOUS

Basarab NICOLESCU  is physicist and president of the International Center for Transdisciplinary Research (CIRET) which works for the academic and cultural recognition of transdisciplinary links throughout the world. It is done if one judges the many institutions and faculties which insert transdisciplinary in their master or PhD programs (France, Romania, Brazil, South Africa, etc..). Author of many books, (see Plastir n°10), he has just published “What is reality? Reflexions around Stephan Lupasco” at Liber editions (Canada). In this paper resulting from s conference on “Eros and the Arab language – Meeting with Adonis”, Basarab Nicolescu initially invites us to the intimate division of his meeting in Damas or Paris with the Syrian poet Adonis, to the birth of the Arab divine comedy (Al-Kitâb), to the knowledge of the Adonis philosopher also, near in these designs to physicists like Bohr or Heisenberg. However, the screen of the speech is revealed quickly: it is about an enlightened second reading of the work of the poet showing his fundamentally transcultural and transreligious character revealing that “Its is the human being, in his opened totality, who is the place without place of what crosses and transcends the cultures and the religions” and not a monotheist culture or a religion which would take the advantage on the others. This visionary approach is concretized with respect to the transcreation that Adonis approaches by the means of the poetic writing seen like a transgression and an essential knowledge at the same time, like a privileged bond between the social sciences and the exact sciences and finally as what will allow the rebuilding of the world.

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