Catherine DOLTO, after sociological and theatre studies (School Jacques Lecoq where she was notably a student of Antoine Vitez, poet, director, comedian and theater director), and hard work with her mother, became a doctor. Her meeting with Frans Veldman, founder of the haptonomy, who she will follow the teachings in 1980 will be crucial in her future practice of haptopsychotherapy with adults, adolescents, babies and the world of childhood. She is currently Vice President of the CIRDHFV (International Center for Research and Haptonomic Development), from which she was one of the founders. Like Veldman, she adopts a phenomenological point of view in which she places haptonomy as the science of affectivity. A non-dual science and at the service of man as a whole. She is also the author of many books for young people. Tell me my birth– The adventure of birth with the PMA(with Myriam Szejer), director of collection for youth and author at Gallimard youth including the Coll. Casually – Giboulées, 80 titles, created with the publisher Colline Faure-Poiré. Among her publications, Paroles pour adolescents– a three-voice book by Françoise Dolto, Catherine Dolto and Colette Percheminier (1988). Dico Ado– The words of life– bringing together different specialists, paediatricians, gynaecologists, dieticians, psychoanalysts (Hors série series Gallimard Jeunesse, 2001, Re-edition 2017). Since 2010, she continues a theatrical work with Emma the clown. Their shows: The conference, Grand Symposium, All about love, Z’humainswith the complicity of Hubert Reeves. In this exclusive interview for PLASTIR, Catherine Dolto delivers us a strong, precise message that calls for extensions. For her, haptonomy, defined by its founder Frans Veldman as a phenomenological science of affectivity, proposes a Western, pragmatic and post-Freudian approach to the human being in its entirety that allows us to break out of the mind-body dualism. The Affective brings together everything related to emotions, emotional feelings, perception and sensations. Frans Veldman has described its operation and phenomenality. The Affective thanks to the subcortical ways and to the changes of tone, organizes incessantly the knotting between the body and the mind. Haptonomy offers an innovative vision of intelligence and development and allows revisiting the field of psychosomatics. It renews all the practices of care and education in the broadest sense of the term, from conception to death. One of its best-known applications is the haptonomic accompaniment of pre- and post-natal life. This clinic comes in strong resonance with epileptic and neuronal plasticity. It opens a reflection on depressive states and proposes an ethics of the reception of pregnant women and toddlers.
Jean-Marc CHOMAZ is a physicist, research director at the CNRS, professor at the École Polytechnique, director of the LaSIPS Laboratory of Excellence at Paris Saclay University and a referent, with Samuel Bianchini, of the Arts & Sciences Chair. Polytechnic School and the National School of Decorative Arts (ENSAD) – PSL University and the Daniel and Nina Carasso Foundation. He founded with Patrick Huerre, the Hydrodynamic Laboratory (LadHyX) and co-directed it from 1990 to 2013. He has directed 28 theses and co-authored 117 articles in peer-reviewed international journals. He received the 2005 CNRS silver medal, the Ampere Grand Prixat the 2012 Academy of Sciences, was named Fellow of the American Physical Society in 2001 and EuroMech in 2018. His research focuses on the dynamics soap films, biomechanics, instability theory, vortex burst, geophysical fluids, oceanography, climate and Art & Science. As an artist, he notably created the installations A path that travels and Time Trace, he co-signs with the duo of artists HeHe, the triptych Fleur de Lys (2009) and Domestic disaster n°3, Planète Laboratoire (2012) and Absynth (2018), with Anaïs Tondeur, the exhibition Lost in Fathoms (2014), with Evelina Domnitch and Dmitry Gelfand, Luminiferous drift (2016) and EP = EPR (2017) with Ana Rewakowicz and Camille Duprat, Through the looking mist (2014), Misty Way (2015), The Nephelograph (2018) and the installation-performance Transmutation de Basecreated in Mexico in 2015 with the choreographer Aniara Rodado. In 2005, with Laurent Karst and François-Eudes Chanfrault, they founded the artist collective Labofactorywhose creations Infraespace, Fluxus, Wave, Moving Mind, Exoplanet 2080, Infinity, and the exhibition Aquaplanet (2015) side-event of the COP21 question our connection to the environment. The series resulting from interdisciplinary projects Intangible Spaceswith Vortex Line installations, Sound Stream, Blackout and Unresolved Sunexplore sensitive cosmos and have been presented in Paris, Bogota and Berlin between 2017 and 2018. Jessy DESHAIS, illustrator of this correspondence without drive between the earth and the moon after a solar flare and an attempt at climate engineering, defines herself as a visual artist and « image trafficker ». She lives and works in Montreuil-sous-Bois in France. Quickly tired by the restrictions of the « trades », she vogues from island to island in search of collision of new techniques and unexplored spaces. She continues to juggle art and order feeding on each other. Press illustration, filmmaking, graphics, sculpture, photography, scenography and fiction installation that bring together all these worlds. The nine original illustrations she gives us here are annotated at the bottom right of the number of the observation base where they are. The square shape is for the artist an observatory window « porthole », vision of scanning the sphere and sometimes an inner world. More info and a look at his works on her website: http://jessydeshais.fr/. Let’s come now to N56u3N4A. According to Jean-Marc Chomaz, who contributed to the special issue of PLASTIR titled « The folds of memory » (PLASTIR HS, 12/2015), it is a climatic fable aiming to renew the narrative of the climate by changing paradigm and observation point. It is a fiction in the form of an elusive parable, a marvel of speculative science, a reader-less correspondence between the earth and the moon after a solar flare and an attempt at climate engineering, three monologues. This lunar fiction is reminiscent of The dream, Johanne Kepler’s posthumous novel whose journey to Lavinia made it possible to question the geo-centred model by a change of perspective, a change of scenery of the reader. Here the fable features humans in the grip of the Titans, the natural elements out of control, the sun that is changing – cataclysmic eruption crisis that begins with fantastic aurora borealis all over the planet and even affects the moon by looking up rivers of dust-and the nuclear winter of men. These letterless poems compose a story in black and white with this base on the hidden side (Subvolva at Kepler) where the anxiety not to communicate but also never to see the Earth rises crescendo and refers to the voice of Legato Require 2001 monolith from the Kubrick Space Odyssey released half a century ago.
Graduate of Arts-Déco ENSAD in Paris, Catherine NYEKI is regularly invited to exhibit her work in France and abroad in Art galleries, Festivals and Museums. She was an associate professor at ENS (Ecole Normale Supérieure de St-Cloud) and teaches today in Digital Humanities Departement University Paris8 in CreaTic workshops laboratories and Gobelins high studies school. She devotes herself to the creation of interactive works, video, drawings, installations, sound creations related to biology, parallel botany, body hybridizations. She teaches Art in the Digital Humanities Department ofthe Paris VIII University, in CreaTic workshops laboratories and Gobelins high studies school. She sums up her paper in theses terms: « Over the last twenty years, my work as a plurimedia visual artist and musician has evolved into a polymorphic biotope, a kind of « vivarium » composed of interactive pieces, sound creations, videos and installations as well as drawings and writings recorded in many notebooks. A digital work of art by definition is never unique; it is potentially transformable at any time. It is fascinating to have access to a such « variable plastic material ». From the beginning, my research, into nearly living organisms with paradoxical physical laws, brought me closer to the world of life sciences. About ten years ago, an experiment with a CNRS researcher in developmental biology opened new paths and encouraged me to continue my reflections and inspirations in relation to the sciences. I have developed various works, some of them with « ramifications », by collecting samples of stem cells, following a process closely related to living which generated, over time, sensory microscopes, tactile laboratories, imaginary incubators, parallel botany, nano-evolutions, transformable stratas, elastic musics, multilingual sounds, maps of scores, video stem cells, plant-animals… Through a trip around my multiple plasticities, you are invited to share my recurring questions. What do we fashion and what fashions us? What is the place of chance in all of this? »
Anthony JUDGE was for a long time a director of communication and research in the UIA (Union of International Associations), a structure which profiles international organizations, the problems they perceive and the strategies they advocate assembled in online interactive (Encyclopaedia of World Problems and Human Potential or the Yearbook of International Organizations). He continues to publish many papers and documents associated with governance, organization of knowledge, and more appropriate strategies (https://www.laetusinpraesens.org). In 2007, he founded the Union of Imaginable Associations(and then Imaginative Associations) to respond to information overload and the increasing complexity of the world using interactive multimedia software such as those whom we chose to publish in PLASTIR (PLASTIR 36, 09/2014 & PLASTIR 39, 06/2015) with a new vision of reality, Anthony Judge explores in this new paper, the role of haiku poems as a means of predisposing the mind to a higher order of strategic resilience in response to threats, especially when a configuration of haiku defines a form of pattern language. Such possibility relies on valued attributes of haiku: embodiment of transformation, capacity to hold several layers of meaning that may be discovered or explored, and capacity to act as a container for deep meaning. In responding to the experiential challenge of the sheer present, haiku are presented as relevant to any strategy that is required to deal with the urgent challenges of the moment — as is typical of the preoccupations of the martial arts. A link is made to personal experience of death in contrast to facile attitudes to the death of others – framing the significance of honourable personal sacrifice in a higher cause. Haiku provide a communication modality for essential understanding of the nature and quality of the experiential reality intuitively recognized at the core of the martial arts through the risky juxtaposition of life and death. This points to the dynamic opportunity of the transformative potential of the shifting patterns in such moments – the aesthetic immediacy essential to paradigm change.