CLINIC AND THEORY OF ERICKSONIAN HYPNOSIS – NON-CLASSICAL APPROACH TO CONSCIOUSNESS AND ITS MODIFIED STATES
Olivier PENELAUD is a self-taught researcher who lets himself be inspired by one discipline to another. First interested in Chemistry and health, he evolves to the Cognitive Sciences (Bordeaux 2) in which he discovered a passion for Epistemology, the modeling of complex phenomena and especially Cognitive Psychology, he will invest until ‘to obtain his doctorate (Paris VIII / IMASSA). During this period, he will publish a nice essay on the paradigm of enaction in PLASTIR 18,03/2010. For his thesis, he integrates the INRETS Laboratory of Psychology of Conduct (today LPC-IFSTTAR), then moves on to a position as research officer, and works on topics as varied as highway driving strategies, the harmonization of European road safety policies, and the analysis of tram accidents. he is torn between the lines of research proposed and his themes of interest, he prefers to leave the institutional research to focus on the human being, he is trained in NLP, meditation (ie Mindfulness, Kundalini Yoga , a former Vipassana student), and settles down as a behavioral therapist.He recently trained in therapeutic hypnosis (ARePTA), he presents here the result of his last cogitations on a non-classical approach of e consciousness and its modified states.
Abstract: The ericksonian hypnosis is a therapeutic use causing what we classically call a trance (i.e. sort of REM waking state or « waking dream » by opposition to the REM sleep) from which, the patient led by the therapist, can direct his attention to a specific purpose; the goal being defined according to the patient’s needs, aims of this therapeutic, are potentially infinite — as they respect obviously their basic nature (i.e. convictions and sensibility). Drafted in the twenties and developed over more than half a century by the American psychiatrist Milton H. Erickson, it carries the filiation of a practice going back to the Ancient Egypt and which, nevertheless, millenniums after millenniums, centuries after centuries, does still not benefit from the scientific clearing required for its standardisation; It’s a fact, the hypnosis resists to the principle of its naturalization (i.e. its appropriation by natural sciences). This being the case, we can keep feeding oppositions, locking ourselves into infinite digressions of the debate: hypnosis, any psychic state (i.e. minimize the role of the relation and thus of the therapist, even of the initiative) vs spectacular dramatization of the suggestion (i.e. the relation is central but it makes of the patient, a feeble-minded person, and of the therapist, a con man); or, in a more palo-altian way, to opposite it, a third perspective consisting in « going out of the frame » too narrow we have tried to subject it until now, while establishing it on less determinist but non-fewer rigorous principles. The object of this article is to submit a possible joint of the therapeutic hypnosis’ practice with a complex apprehension of criteria of scientificity.
THE CREATIVE AND RECREATIONAL ELEMENTS OF THE HELLÉ AND DEBUSSY’S JEWELRY BOX
Ly Lan MAGNIAUX, singer and songwriter, comes from the Master’s degree Radio-France, Doctor of the Sorbonne in Musicology, graduated from National Conservatory of Paris and the Conservatoire Regional of Boulogne-Billancourt occurs in concerts at Paris and its region in a plural style like the music of films (varieties, jazz and classical) of its origins and its enthusiasm in exploring the richness of diversity cultural offer of the world. She published at SM, Zurfluh, PUPS, Mardaga, The Claudel Society, The Gadagne Museum of Puppetry world. This article is from his unpublished thesis about the music of 7 composers written for puppets and played in Paris between 1886 and 1948 under the direction of Prof. Michèle Barbe. She also collaborated with France Culture on her DEA on role of the cymbalum in European music written between 1886 and 1928. Regarding the essay she presents us in PLASTIR, the author presents the facts by stating that until the 21st century, few works of art have been analysed with an interdisciplinary point of view. But the seminar created at the Sorbonne by Michèle Barbe (published in PLASTIR 45, 03/2017) which she came out, testified from the end of the twentieth century a desire to decompartmentalize disciplines in music and visual arts through the universals of the language. The idea of disciplinary transversality, dear to PSA, is reflected in the transdisciplinary example of Damien Schoëvaërt’s: The Moonlight Puppet Theatreand The Carpe Diem Ensemble in the creative and recreational elements of their interpretation of La Boîte à joujoux of Helle and Debussy, whose centenary we are celebrating this year ! Excerpts to consult: piano & reciter, interpreted by C. Ivaldi & F. Castang https://www.youtube.com/watch?v=I_ki8M5TGtI a version of the first painting, by the UniMi orchestra conducted by A. Crudele: https://www.youtube.com/watch?v=0XJx8M8jUXY a version for piano solo, interpreted by A. Planès: https://www.youtube.com/watch?v=LuFCg_0C6Yk&vl=fr
THE PLASTICITY OF AN ARTISTIC AND SCIENTIFIC ARCHIPELAGO
Christian RUBY is a philosopher and teacher. He has conducted many works on the report Arts and Sciences: – Revue Le philosophoire, N ° 35 (2011), Science; – Reason Review, No. 176, 177, 178 (2010), 179 (2011), 184 (2013); – Online magazine Non-fiction, 2011-2012-2013; – Review of the Arts and Sciences Workshop in France. The experiments are recorded: – At the Planetarium of Vaulx-en-Velin (with the artist Laurent Mulot); – At CEA Grenoble (artist Valérie Legembre); etc. Latest books published: Abécédaire des arts et de la culture, Toulouse, The Attribute, 2015; Becoming a spectator, Invention and mutation of the cultural public, Toulouse, L’Attribut, 2017. Website of the author. For Christian Ruby, « It is not enough to note that many works are realized thanks to collaborations between scientific researchers and artists. At the same time, it is necessary to take theoretical steps that will allow us to distance ourselves from the arts, which simply mimic the sciences and sciences that use the arts for their benefit. In this article, we propose to use the concept of « exchange surface », which seems to us to be suitable for thinking of arts and sciences archipelagos rather than reciprocal exploitations.” We can only agree, as this area of plastic exchange between the crossed fields of arts and sciences is rich and today crucial to develop! Moreover, the art-science axis is exemplary in a world that tends to discriminate and isolate the functions. We need Leonardo Da Vincibudding, without demagoguery, and without a doubt archipelagos of creation without borders like Glissant’s archipelagos (archipels Glissant) that have drained creolization and relationship, concerning languages. However, the artists with exacerbated sensitivity have been in demand for a long time in this field and, as a new element, are beginning to be heard on a larger scale by science, which finally sees the valorisation of this research, and much more when the current passes, and that she is able to rediscover her own discoveries in a new light! Many of the national and European TRAS collective groups and structures currently support the exemplary nature of this approach. Christian Ruby summarizes its paper arguing that “a conceptual perspective on Arts and Sciences can help us analyse highly fragmented and autonomous forms of work organisation, taking a new creative work as a test case. What I name “surface d’échange” between arts and sciences. It surveys the difficulties of applying uniform categories to this group, while focusing attention on how the interaction between the two categories. It offers an alternative for theorising their relations among creative workers, without centralising control over the ‘means of exchange’. Each bad theorisation denies the historical specialization without another focus than impressed the public, without stimulate curiosity and learning about the philosophy of these activities”.
THE LANGUAGE OF NATURE ACTE I & MANIFESTO OF DESYNCHRONIZATION OF NATURE
Ingrid Paola AMARO is an artist and researcher with a multidisciplinary background. Trained in Visual Arts at Paris 1 University La Sorbonne, Urban Design at the Royal Academy of Fine Arts in Brussels, Landscape Engineering at INHP Angers and Agronomy Sciences in Aurillac. Currently, she is doing a thesis in Art, Aesthetics and Art Sciences at the University Paris 1 La Sorbonne tutored by the Professor Yann Toma. She deploys an artistic practice that revolves around the relationship between contemporary movements that link us to nature (botanical gardens, extractions, natural parks …) and the forgotten concepts of its renewal (transcendentalism, Pierre Restany’s manifesto. ..). As such, she recently experienced the life of a hut in the image of H. D. Thoreau in 1845, in a hut and a pond in Auvergne (France). His current work is entitled: « Counter-Nature: The geographical shift of endemism. » She theorizes and experiences, from the ethnobotanical history of Sophora toromiro, a new way of relating to nature. The concept of borders and displacement are at the heart of his research work centred around the Floral Prevention Office, an artistic creation that merges with the official institutions for the protection and conservation of nature. The only investigative member of the Floral Prevention Office investigates through the infiltration (CONAF, Kew Garden, Serres d’Auteuil…). Created from the survey « For a Sophora toromiro planted when the landscape did not exist« , on an endemic tree disappeared from Easter Island, all the reintroductions failed, the Floral Prevention Office is a fictional place but including a very real research on conservation methods of plant species and problematizing new forms of conservation. Representation as the interpretation of nature have their place in the tools that the office mobilizes, thus interested in the object artificial flower or botanical gardens. Complementing the theoretical part of the research, exchanges with conservationists, amateurs or scientists are the subjects of an archive. They translate into visual creations and reflections from Ingrid Paola Amaro’s thesis, which summarizes her contribution to PLASTIR as follows: “Everything that is palpable and counted is true and credible. All that is not, is futile and useless. Thus, this text starts a reflection on the language we use of nature, nature and nature, and analyses the scientific codes that have become legitimate, cancelling the esoteric and pure visions, which are perceived as anecdotal and therefore despised and not taken into account. But by cancelling these thoughts, we are cancelling entire cultures, entire peoples, and our own humanity. As I have said. It’s just ACT I. You see, you’re already starting to think I’m a far-fetched and bucolic person. Not true ? So, I wrote a ‘Manifesto Against Nature’.”