Michèle BARBE is a highly skilled university professor. Of double training, in musicology and in art history, Michèle Barbe taught at the University Paris – Sorbonne from 1973 till 2011. Her doctoral thesis, supported in 1992 under the double direction of Bruno Foucart and Serge Gut, seals with her the alliance between visual and sound arts through the analyses of the work of Fantin-Latour. From 1989, through reports then theses, she trained and gave life to an interuniversity entitled research team “Music and plastic arts”, as the series of publications she managed in the collection of the French Musical Monitoring Observatory and the seminars, which she livens up, leads even today. Michèle Barbe, introduced by our General Secretary, the composer Frédéric Rossille, honors us with contributing to PLASTIR for the first time on the theme of the musical plastic art of Henri Fantin-Latour (1836-1904). The museum of the Luxembourg (Paris) has recently presented an exhibition entitled « Fantin-Latour. A fleur de peau (hypersensitive) » (from September 14th, 2016 till February 12th, 2017) that will be then welcomed by the museum of Grenoble (from March 8th till June 18th, 2017), the city of which the painter is native. The author summarizes us as follows the contents of his paper. » The painter was considered unclassifiable because of a work shared between imaginary and realistic subjects, of very different styles, in the crossroads of the romantic, realistic and symbolist currents. Fantin-Latour was a music lover of the most informed and was inspired by masterpieces of some big composers in a part of its work in which we shall be interested, more particularly in the numerous variations which he realized from the same musical source. Resting on a precise example – the various versions according to the beginning of The Gold of Richard Wagner’s Rhine between 1876 and 1888 – we shall analyze the process of plastic translation of the music in its evolution to understand better the complexity. « . One might as well say that the reader penetrates into the whole universe, made by painting, by poetry and by music there, and that more still, it maybe brought to drill some of the mysteries or the secrets of the plastic translations of Fantin-Latour. Among her directions of recent books: Music and plastic arts: interdisciplinary acts of the doctoral and post-doctoral seminar on 2006-2009, Paris, French musical Observatory, puts into series; » Music and plastic arts « , N 8, 2001; Music and plastic arts: the translation of an art by the other one. Theoretical principles and creative initiatives (International colloquium :May 26-28th, 2008), Harmattan Ed., coll. » The aesthetic universe « , on 2011; Music and plastic arts. Analogies and interferences (International colloquium of March 15-17th, 2001), Paris, PUPS, Coll. « Musics / writings », on 2006. Complete Bio : CNRS/IREMUS
Bernard TROUDE is a researcher in contemporary sociology at the CEAQ of the University Paris V, engineer-designer and Ph in Sciences of the Art. Author of numerous essays or works relative to the nature of the object – its pregnancy, its meaning, its decay and of the man – its place in the society, his relationship with medicine and cognition, he recently joined the University laboratory of Cognitive Sciences of San Francisco to contribute to their Annual symposium (role of the public/private powers face to stem cells and searches on the embryonic cells) and contributes to the Non-specialized Medical Magazine of Normal (city close to Chicago, USA) which collects all the medical and universitary publishing. He recently published a study relative to the art and the neuroplasticity in PLASTIR 36, 09/2014. He wonders in this number about the notion of GIFT or DONATION in the meaning of plastic space to be formed and to deform that many people cannot develop due to the lack of intellectual energy, according to its own statements. It is a question here of handling artistic and creative phenomenology where the notion of gift likened to a plasticity of mass causes and maintains at the same time a stable imbalance and a form of energy. » Without plasticity no energy, no sensory energy, no GIFT« , close Bernard Troude, who takes into account well the attributes of the plasticity such as we describe them and summarizes his purpose in these terms: “Because « giving » gains value even in its gratuitousness by the giving and the receiving (positive or negative). No one, including the artist, finds himself in a particular disinterestedness, by a magical aesthetic virtue. Is this to say in the mind, evolutionary cognition, the instinctive phenomenology that Don, Free, Leisure and free play are pure chimeras? « Without a gift, there can be no art. » Our satisfactions become palpable when this « gift » continues by questioning: will can or I do better, differently or can the concept evolve? This also assumes that in the brain parts that we thought unchangeable, unmodifiable can present itself in imagery in full variations. Reading these last years we understand that a result is born of an elasticity that manifests itself, that all parts of the brain are now concerned for all the different parts of the physical body and also psychological. Any attempt to act, especially that of the DON, is triggered by a drive or rather as an impulse, this mechanism experienced and peculiar to each being only a part since it is instinctive of the device of an augmented adequacy to Environments. Plasticity will be activated in the network comprising the five areas of the brain and potentiate the premises of the actions, which does not imply and will not exclude the how of the irrational that can always guide the choices. Plasticity will be activated in the network comprising the five areas of the brain and potentiate the premises of the actions, which does not imply and will not exclude the how of the irrational that can always guide the choices.”
Claude BERNIOLLES at the same time poet, philosopher and essayist gives for some time to PLASTIR a literary opening, approaching in particular Anatole France and recently, a Cervantès cycle centred on the Don Quichotte of 1605 (PLASTIR 42, 06/2016, PLASTIR 44, 12/2016) and of 1615 (in this number and possibly the following ones). The « Prayer to insert » that sent to us Claude Berniolles gives de facto a rather just idea of the work of review of the Continuation of 1615 of Cervantès. It is at first a « patchwork » of the main moments of the ‘cervantin’ text, with colourful, extravagant or funny scenes, such as « The cave of Montesinos » and others – than would not deny the Gothic novels of today -, or the episode of master Pierre’s « puppet theater », which the reader will discover here. But it is especially the side « madness-wisdom » or Don Quixote’s « wisdom-madness » (until he dies), as well as the invention of the « quichottism », that will intrigue or maybe even will fascinate the reader – fascination which was doubtless the one of the public spectator of the Theatrum mundi based on appearances, when Cervantès writes. To finish, we shall find a reflection around the problem which lifts Don Quixote’s death, as well as some aspects of the literary reception of the book. On a last point, and as in appendix – it is the most personal and most unusual aspect of this work – we shall meet the myth of Quichotte such as it is represented to the cinema or in the contemporary Spanish opera, the defended idea which can be shared, let us let us wish it, by number of readers of today.
Matisse MAKWANDA was born in Montreal in 1991. He lives and works in the metropolis. In lingala, « Makwanda » means « the one who gathers ». He updates now the inheritance of his surname in an approach inspired by the transdisciplinarity. Member of the Grouping of the interdisciplinary arts of Quebec (RAIQ), independent researcher in aesthetics, cultural entrepreneur, his thorough work raises a porous limit between the imagination and the reality, what it represents through various mediums such as the writing, the photography, the installation, the performance. This paper is so an application in the aesthetic field of the concept of transdisciplinarity. In the poetic prose follows a case study: how the artist develops a point of view and an interdisciplinary practice through his process of creation? How to invest the object by sculpturing as subject? The reader is invited to answer it by the discovery and the exploration of the possible as the metamorphosis of objects.