Plastir Number 42

A TEAR IN SPACE AND THE BIRTH OF THE SELF  –  C.G. JUNG AND W. PAULI

Bruno TRAVERSI is a researcher associated with the TEC (Techniques and Stakes of the Body) at the University Paris-Descartes, PhD of the University Paris – West Nanterre – thesis supervised by Jean-François Balaudé:  » The dance as the spontaneity – hypothesis of a structure of the movement  » and Graduate of the world center of the Aikidô in Japan – Aikikai of Tokyo. He has just published  » The unconscious body and the Soul of the world according to C.G. Jung and W. Pauli  » in the collection Philosophic Opening of the Harmattan Eds. Paris ( 2016 ). It is thus quite naturally that he raises brilliantly this subject in the paper he proposes us for PLASTIR by summarizing us his approach as follows:  » Carl Gustav JUNG and Wolfgang PAULI collaborated for a quarter of a century on the relationship between the physical realm and the psychic realm. Their joint exploration of the “psycho-physical problem” lead their assessment of the existence of a background to the phenomenal world, a “part physical, part psychic” background. This model, against which they gauged modern physics and psychology, throws fresh doubt on the representation we provide of man’s existence among his surroundings.   In effect, it offers the supposition that the existence, presence and actions of man in this world, are rooted in that background plane where neither the arrow of time or the understanding of space are valid, whether that be in terms of the separation between me and others or even of causality. Its presence and structure can be detected primarily in the instance of certain psychological states during which, the self having been bypassed, the primary layers of the psyche can be tapped into, as in certain among the dreams of PAULI, or even during ecstatic dances. The Kagura Mai dance, an ecstatic mandala dance, which we studied in workshop over a period of ten years, is testament to the existence of this background plane and of its influence on behaviour. It also seems to constitute the substructure shared by the subject and the world, like an original and unique space the private part of which (of the self) and the worldly space (the non-self), in their dichotomy, would be opposing reflections. » It goes away here of a deep opening affecting as much this praxis and this philosophy as an intimate choreography. We hear this nodal point there where the plasticity of bodies offers least resistance to that of the spirit, where the entre-deux of Jung and Pauli echoes the neurophenomenological or the mesological approaches describing the indissociability of the body-mind-world entity. Let us enter the dance!

THE CREATIVITY, CEREBRAL HELL. – OF THE INFINITE POSSIBLE BRAIN PERIMETER FINISHED WITH ARTISTS.

Bernard TROUDE is a doctor in Sciences of the Art of University Paris I and researcher in different laboratories of the Sorbonne University Paris Descartes V : Comprehensive sociology CEAQ (Center of Studies on the Current and the Everyday life), European laboratory of ethics, Neurosciences and cognitive sciences, Sciences of the end of life. He is also engineer, a professor in sciences of the Design and Industrial design, the co-manager  » To Rethink the ordinary « , philosopher, and contributor of numerous magazines such as Plastir, Ganymède, Exercise books of the idiocy (Montreal), European Exercise books of the imagination, Arts and Sciences or still Ethic, Medicine and Public Health. He refers in this essay to the reference quotation of Leroi-Gourhan:  » (…) Scientific thought is rather embarrassed by the need to stretch in the printing industry and it is certain that if any means allowed to present books so that the material of the chapters is offered simultaneously in all its implications, the authors and their users would find a considerable advantage. (…)  » The human being, combined with biological complex devices continually asks questions on finite or infinite pluriverse surrounding whose outskirts of possibilities, finite or infinite limits. finite and infinite perimeter are now included in the geometry to model the natural elements by geometric figures. We have to understand that need to go through the writing and printed on paper typographical chain is difficult to maintain. Our cognitive senses are going to mingle all dependencies for recordings of the results, premonitions on the impacts of reasoning. Schematizations simply allow you to go fast, very fast to jump of intuition and for the achievement in significantly reducing this brain space of time the design chain, the authors access this opportunity to draw, redesign, types of representation considering those best suited. Before demonstrating the existence of different types of infinite (in-finite or infinities), we must consider the notion of dimensions: consider sets of figures or representations.

CERVANTÈS: THE FICTION DON QUICHOTTE (of 1605) – RETURN IN THE GOLDEN SPANISH AGE 

Claude BERNIOLLES is a fine literary man. Having a law degree, he is at the same time a poet, a philosopher and an essayist, deepen gladly the concept or works of Bonnefoy, Anatole France, Barthes or Wittgenstein (PLASTIR N 20, 23, 25, 27, 39). In this issue, he speaks in his preamble or avant-propos of an « historisising » reading of the Don Quichotte (of 1605) about Cervantès. It is indeed this kind of approach to the work, illustrated with numerous quotations (leaning on the translation of the eminent cervantiste Jean-Raymond Fanlo), that the author wanted to favor, and not that « anachronistic » adopted by certain current critics (running doubtless fashionable critic, but who often – as shown in the motto prefers to prove « its » method, rather than to light the work). It allows us to better penetrate into the work and its genesis. This article which interests only a part of the text of Cervantès, will be later extended by another article, « so as to cover » the whole Don Quichotte of 1605. Our readers will discover it with pleasure in a future issue of PLASTIR.

TRIBUTE TO MARCEL MARIËN TO BEGIN – CROSS THE GENRES

LORRAINE ALEXANDRE is a doctor in Art and Sciences of the Art (mention plastic arts). She is a plastic artist and a researcher in art. Specialized in performative photography and drawing, she questions the identity through the various staging of the body. She exposes regularly, we shall find her in particular in November within the framework of the festival SI(NON)OUI (CC91- France). As researcher, she publishes in numerous collective university works. She is the author of The Stakes of the portrait in art – study of the relationships : models, portraitist, spectator (Harmattan Eds, Paris 2011). She presents us here for PLASTIR a reflection leaning based on the experience of a work of performative photography entitled Tribute to Marcel Mariën to begin which refers to the dumb and blind work (1940) of the Surrealist Marcel Mariën representing a naked woman of back on the skin of which he wrote:  » Mute and blind person here I am dressed in the thoughts which you lend me « . The first image of the series is a plastic quotation of this work where the woman is replaced by the Drag queen Aakasha. The following ten photos shell drawings pinned to a white fabric(tissue) which the model tightens(stretches out) in front of its trunk. These drawings represent the right or false prejudices associated to Drags. This series is representative of the logic of stratum and of the accumulation peculiar to the creation of the artist where the term  » genre  » is polysemous. The male, feminine, artistic, cultural kinds (genres) meet in her performative photos. The main thread of the text who Lorraine Alexandre suggests developing follows the veils which form the plastic and abstract structure: a structure which opens here on the notion of « Trans », most to show the transverse nature of the subject approached as the research work of the plastic artist:

  • Trans-média: As a plastic artist, I play the association of techniques. The Tribute to Marcel Mariën to begin is a symptomatic example of my artistic work by accumulating drawing, photography and performance. We shall see in what it allows me to find my place in the inheritance of the searches executed by performeurs and artists of the body art who were determining in recognition of the photography as art.
  • Trans-arts: Beyond the various used plastic arts, my practice invites regularly the artists of the show to play the role of models. I also use the writing. We shall see the stakes raised in particular by the legal concept of derived work.
  • Trans-genre: The case of the Drag queen is interesting because it is not only about an identity but also artistic and abstract construction which is made hyperbola of the codes of kind (genre) the performative nature of which Drag underlines. We shall see that the genres train a speech which sets shape on the body.
  • Trans-sciences (human sciences): As artist researcher, I request very regularly all the human sciences, feeding me knowledge acquired by the psychoanalysis, the sociology and the anthropology. It is interesting to explain the use which I can make of these sciences to understand the nature, the stakes and the limits.

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