Claude PLOUVIET is a rheumatologist specialized in physical medicine and in rehabilitation. He followed at the same time several programs academics in ethnology and in linguistics at the Sorbonne (Paris). His approach, very eclectic, quickly leads him to exceed the binary logic to be interested in the ternary logic, and particularly in the lupascian notion of the included contradictory third, opposing to the principle of the third excluded classically used in formal logic. However, his transdisciplinary approach does not content with reviewing the various ternary theories and of inclusion of the third, taking as basis that of Stéphane Lupasco, but it puts in perspective them by linking while deepening them by successive stages, in support of quotations, of equations and of a rich iconography just like » This is not a pipe » of Magritte or this magnificent detail of the reflection of « Narcissus ». The bases of auto-organization according to Lehn’s works and the principle of enaction of Varela, those of Pierce’s tierceity, of Morin’s complexity, of the Gibson’s principle of affordance, of the Berque’s mediance, of Legendre’s apodictics and Bastide’s acculturation are so alternately approached in this text stemming from a conference given at the seminar Mésologiques of the EHESS (Paris). It is the same for the mediology of Debray or still the philosophy of Kitaro. Claude Plouviet thus looks for the common denominator to all these approaches, and apparently finds in Lupasco, the man (physicist and epistemologist at the same moment) who knew how to open a considerable field to the opposing dynamics, to its energy and quantum logic, to its homogenizing and heterogeneizant hillside, to its capacities of potentialisation and of actualization, in its consequences as for the psychic sphere and finally for the hatching of the third logical term, the T state, to question at the same moment the absoluity of the identical logic or the principle of non-contradiction and that of the Pauli’s principle of exclusion. As we had raised it in « The era of the plasticians », the author shows how much the route of Lupasco is exemplary as such, making of this contemporary of Bachelard and of Merleau Ponty, a major actor of transdisciplinarity. It will be the case, at different degrees, of the not reductionist thinkers whom Claude Plouviet presents us alternately by means of the original concepts of which they are the source: that of linguistic value of de Saussure based on the interrelation between the value, the meant and the significant and where the sign is globally considered; that of Jean-Marie Lehn’s auto-organization considering the complexity of the molecular combination (illustrated by the « space-height » of the Mendeleïev’s table) and supramolecular (constitution of the bricks of the alive from the elementary chemical elements) as well as the notions of information and then auto-organization which ensue from it from the cellular analyzed level and by other end by the neurobiologist Francisco Varela whose enaction concept exceeds the subject-object and body-spirit dualism; that, with strong Lupascian accents of Nishida Kitaro and of « his world of things in constant interaction » or of « its logic of the identity of contradiction of the one »; that of the musician Di Scipio noting the theory of the chaos and the non linear dynamics in his musical compositions, that giving the sonologic emergence theory; in literature, those of Hermann Hesse about Siddhartha or concerning the poet Yves Bonnefoy about the dialogues of the « Boatman »; in painting, those of the abstract art from Matthieu, « The mysterious breaks » of Magritte, who, according to Plouvier, realizes implicitly the third included, or still of the famous masterpiece of Greco « The funeral of the count of Orgaz » whose meticulous analysis leads to put in light the juxtaposition of two worlds: real (significant) and virtual (meant), and of the soul as the third included. We can again quote as such the universe of the Khora de Derrida; the theory of the disasters of René Thom; the relational nature of the identity according to the anthropologist Pierre Legendre, the author of « God in the mirror » (illustrated by « Narcissus » in the text); the acculturation of the ethnologist Roger Bastide; the mediologist approach of Regis Debray whose ‘entre-deux’ (middle point) pushes aside our meaning of the origin and the end or of the suburb and the centre, and that, mesological of Augustine Berque considering that the relation of the ‘entre-deux’ is driving by itself and defines an ‘écoumène’ where elements are bifaces (physically presents while being relative) and the people always connected to their environment.The author calls it finally to the poet Edouard Glissant whose universal thought of « The all world » and the creolisation wants to counterbalance the third-social post-colonial state of French Antilles, the acculturation of which would have taken place as a contradictory third included which would have tried to take out of the abyss by denying the total destruction: one pole survives… Polarity of whom we see through all these examples that it cannot be efficient without being connected with a system which Claude Plouviet qualifies as inter-identital. Fundamental property stemming from the quantum revolution and from the Stéphane Lupasco’s tri-dialectic vision shared by all the quoted researchers and widened in the transdisciplinary notion of levels of reality introduced by the physicist Basarab Nicolescu. The author will conclude in this direction by emitting the hypothesis that the passage from the binary to the ternary level would be maybe only a stage « on the road towards a ‘multinary’ either ‘infinary’ vision constituted by infinite simultaneous interactions, strewed with simultaneaous disasters (in the Thomian meaning), of infinities of third included or infinities of third infinity, infinities of homogenizations and heterogeneiszations, dynamics of life, emergence of the humanity, or non humanity, the worlds of worlds », before adding carefully: » but is the human mind capable of it? «
Augustine LEUDAR is an artist-researcher specializing in 3d sound art, audio holograms, and sonic illusions, Augustine creates immersive installations that surprise, mislead, and delight audiences. Characterized by a surreal sense of humor, he creates new worlds and augmented realities through hidden speakers, concealed microphones, and mischievous intent, turning any space into anywhere, from the smallest nook to entire woodland expanses. In 2010, Augustine delivered the world’s largest walk-through multichannel sound installation at the Eden Project in Cornwall. Called ‘Biomes at Night,’ it covered over 4 acres of indoor rainforest. Augustine’s work has been exhibited and performed internationally. He has appeared at the National Gallery of the Czech Republic, AriaArt Gallery in Florence, as well as venues in Peru and across the UK and Ireland. A permanent installation, created with Wireless Mystery Theatre, is on display in the Ulster American Folk Park in Omagh, Northern Ireland. He enjoys site-specific work, and in 2013 he worked with Glastonbury’s Shangri-La to create a dreamlike and immersive sound environment in the « Alleys » that covered several acres. He has also collaborated with various theatre companies to produce works everywhere from public parks to abandoned swimming pools. Augustine has received airplay on BBC Radio 1 (John Peel), the BBC2 Arts Show, and BBC Radio Ulster and is also host of the acclaimed experimental music radio show ‘Through the Looking Glass.’ Currently living in Ireland, Augustine conducts research into complex electronic signals in plants and « spatial audio » at the Sonic Arts Research Centre at Queen’s University Belfast. He presents us for PLASTIR and exclusively for the French-speaking countries two shutters of his approach. The first one presents the originality of the project in general and is summarized by the author in these terms: “Several artists and projects have attempted to convert electrical signals in plants into sound, visual art or various other artistic mediums This paper critically examines some of the methods commonly used by artists when reading plant electrical signals, how they can be corrected and serves as a practical guide for those looking to make tangible the hidden world of plant bio-electrics”. The second shutter describes “a Sound installation which formed part of a public event, the Sunflower festival in August 2013, it lasted three days and covered approximately one acre of young deciduous woodland. This site specific installation consisted of a multichannel audio composition, electrodes that converted electrical signals from 4 trees into sound and interactive sculptures that contained hidden microphones. This paper discusses how in depth technical details of how the installation was created and discuss aesthetic aspects of the composition such as sound spacialization, the types of sounds used and some of the creative processes involved in its production.” This demonstration proves, if need was there, the high degree of sensibility of vegetables and their capacity to perceive at least a level of information and to communicate. Debate at present boosted in the scientific and ethological community which is very close interested in these capacities of intra- as inter-species communication still widely under estimated. Finally an account of the public response will be provided at Invisible Forest on Vimeo .
Jean-Pierre DESTHUILLIERS, « Aeronaut by training », is a sociologist, a humanist, a philosopher, and doubtless a poet above all. As we had previously presented him, he co-created Le Pont de l’épée, La Jointée and more recently the literary website Adamantane rich in contemporary poetic creations. And this talent of fine analyst of the language, we had recently discovered him in PLASTIR 30, 03/2013 where he dealt hardly about “the plasticity of the tongue” literally as figuratively (the tongue & the language are the same world ‘langue’ in French). Plastisseur’s work to which he got down at all costs by a surgical extraction (exérèse) concerning as much the organ – its lingual and sub-lingual feature, its phoniatry, its psychomotricity – as the handled language – our beautiful French language, its aura, its complexity, its neurosemantics -. Now, it is this plastished tongue that it is naturally question at the poet’s, old French expression gone out of use word, but that we wish to rehabilitate. And Jean-Pierre Desthuilliers understood it at once through our review PLASTIR and through the action led by M-W Debono to make integrate a concept of plasticity that is really of epistemic order. More still, he translated it in a literal way – plastisers (plastisseurs), builders or molders (pétrisseurs) opposing to the plasticians (plastic surgeons and/or actors of the industrial plastics processing industry and so named in the same way as the artists – and literary in his own meaning of the powriting (poécriture) and his remarkable analysis of the plasticity of [and in] the language. That is why we wished to publish posthumously – the poet having recently left in the lurch us-, this article which was originally intended for the afterword of the recent publication of the book « Writing and the Plasticity of Thought ». Actually, he could be likened to a criticism or of a very searched reading note for this last one, whose initial title was » Plastir, it is to write » (what explains its title), but really exceed widely this frame, not contenting with analyzing the work, but sharing it – from poet to poet-, by revealing all the subtleties, by enjoying itself, returning them, juxtaposing them, plastissing to abundance, opening to the journey, showing the real nature of the plasticity of writings. So, he declines with clarity three varieties of the concept of writing: 1/ have a visual and multimodal system of notation, 2/ have art and technical assembly of words and symbols and 3 / have acquired psychomotor capacity in time, and the setting of the writings which ensues from it. Every described level implies privileged access to knowledge: alphabetization, communication or images’ civilization, particularly importing for the era of the digital technology and in the context of the cyberculture that we cross all. Jean-Pierre Desthuilliers, confirming completely the essay of MWD, describes the biggest plasticity of writings there (handwritten writing, poetics, cursive writing, plastic writing, heraldic writing, HTML, musical writing, ideographic writing, and finally ‘rectoversed’ writing in reference to the approach of the painter De Caso (PLASTIR 13, 12/2008),) and his narrow interaction with the mental plasticity of the writer. “The mental plasticity of the reader combined with the psychomotor plasticity of the scriptor allows magnificent adjustments, which for me overcome in scale those whom we live in the oral use of our language”, he so says. Better still, JPD prolong some of the assertions of MWD on the plasticity of the thought, on the thought without language and the forgetting of the languages, on synesthesia « to give to see thought words and to think of sketched words », about iconoplasty and more generally about his first assertion: “Plastir, it is to write”, implying the ‘modelant’ (or plastirant according to his own statements) activity, being totally innovative for writing, and asserting (an important fact) « the continuity of the plastied material ». This global continuity would be under tightened by the balance between the discontinuity of the writing and the continuous fluidity of the word and of the vocalization. It is illustrated by the example of ‘the dictor and the clerk’, this last one replastissing « with his native discontinuities a material sound which he perceived without discontinuities ». Finally, JPD approaches like Robinson Crusoe the poetic hillside of the essay about St John Perse and the archipelic writings of Glissant approached in the chapter » Writing as a test of the self », every visited island (respectively those of the plasticity, the discovery, the complexity and the creation) being the pretext of a poetic creation, slept there, and of a journey moving through the work as through the narrative.
Bénédicte LETELLIER is a lecturer in compared literature at the University of Reunion (France), specialized in the Arabic literatures and the Sufism as well as member of the International Center of Researches and Transdisciplinary Studies. She rules the department of the languages and oriental civilizations (House of the Languages) since 2011 and recently published « To Think of the fantasy in Arabic context « , Champion Ed (Paris, on 2012). This work recontextualize the notion of fantasy according to the western and oriental traditions. In the first case, it is perfectly limited, admitting a revealing function (Aymé, Pellerin) and a directed criticism, whereas in the second, it is an almost abstracted notion or quite at least marginalized. However, the short story writers such Tâmir, Naşr or Tûbyâ and the contemporary Arabic critics envisage today a thought of the fantasy. The author recently published several contributions on this subject such as: « Western Theories and arabic texts » and « Fantasy and realism at Franz Hellens and Albert Cossery: paradoxical figures of the dream » (The Exercise books of Gerf, Iris n°26, 2004); « To think of the incomparable « , Acts of the colloquium The New Ways of the comparatism, (Exercise book voor Literatuurwetenschap, H. Roland and S. Vanasten Eds, Ghent: Academia Press, 2010); « Infinite universes: to where to read the contemporary Arabic novel? », LiCarC (Literatures and contemporary Arabic Cultures); « On this side and beyond the limits » (International magazine collection « Classiques Garnier » n°1); « The mystic fable and the quantum physics » (TrOPICS » Fictions and sciences » n°1, 2013); « The novel of an author in two heads: Jâbrâ and Munîf, A World without map », (Canadian review of compared Literature, 2013). It is thus quite naturally that she approaches the poetry of Adonis and its intimate relation with the body (« The ‘Back to front’ body in the poetry of Adonis or the so-called body » (Works and Documents, supervised by G. Fois-Kashel and M. Arino, 2008) and the Sufism. It is of this link and its impacts on a possible renewal of the poetic word about which she speaks to us here, taking up that if Adonis is unquestionably the craftsman of this renewal, he passes by a positive criticism of the Arabic culture to restore the links lost between the poetry, the sacred and the myth. Very early in his work, the poet testifies of his spiritual collection whereas the philosopher arouses the overtaking of the literary borders. In « The metamorphoses of Sakr », he frees a major testimony on the future and the poetic experience of the imaginary journey through Andalusia. The poet of the metamorphosis, so named by Masson, exceeds gaily the aesthetics and the metaphor to concentrate on the transformation. For Adonis, « It is the imagination, the dream, the stranger, the mythos who have to be the source of [the poetic urgency] », reminds us Benedicte Lettellier for whom it leads irreparably to a saving questioning, to an awareness of the mystic value of its relation to the world and finally to the metamorphosis. Besides, the contribution of the Sufism seems evident after the demonstration of Adonis which compares it with the surrealism of Breton. In both cases, the poetic act is pregnant in the access to the knowledge of invisible compared in the logicodeductive reasoning, excepting the difference that the Sufism implies the body and the spirit, in other words the posture in its integrity. The author describes it, with many examples and quotations, a phase concerning perplexity, followed by a phase of actual transformation requiring the creative imagination of the subject: a transcreation « given as the other name of the poetry by Adonis », « a shape of at the same moment singular and total existence » or « a continuous grief », and finally by a phase of opening towards the otherness. If we can dare a comparison, the embodiment of the mind observed in the oriental extreme cultures and updated by researchers like Francisco Varela could correspond to this road and lead, otherwise in the ecstasy, in the reversal, in the movement of the whole being towards this new poetic identity.