Henri VAN LIER is a Belgian philosopher with an encyclopedic and innovative spirit. Professor at the Institute of Broadcasting Arts (IAD) at the University of Louvain la Neuve, he was interested in several fields, including experimental psychology, aesthetics, semiotics, photography and linguistics. He is also and above all the author of a major work “Anthropogeny” (1982-2002) presenting a macro-history of human evolution by « punctuated equilibrium » like the theory of S.-J. Gould. He initially identifies Homo as an « angular, transversalising and empowering primate« , a leading player in language, the arts, sciences and a certain philosophy. Anthropogeny is described as « the continuous constitution of Homo as a state-moment of the universe » and as « the discipline whose object is the faculties proper to Homo ». Divided into two branches, the general anthropogeny describing the fundamental, subsequent and social human bases and achievements and the local anthropogenies including semiotics, linguistics, phylogeny and contemporary cosmogonies. On the whole, it is a theory of human knowledge in which man is described as a « signed animal » and its evolution as obedient to specific phases (« passage of World 1 or near-continuous to the World2″) (towards – 800) or of the distant continuum, then to the World 3 (hypertechnical between 1850 and 1950) founded topologically on the discontinuous »). Among his publications: Sartre and the presence in consciousnessin The French Encyclopedia (1957), The Arts of Space (1959), The New Age (1962); articles: « Architecture », « Chromo, Kitsch, Laid », « Design », « Aesthetics », « Painting », « Sculpture »of the Encyclopaedia Universalis (1968 to 1972), Philosophy of Photography(1983), History photographic of photography(1992), Logic of European languages(1989) and Language history of French literature(1989): programs broadcast on France Culture),The Tour of Man in 80 theses(English translation – 2003). Thanks to Marc Van Lier, we have the honor to publish in PLASTIR an unpublished by Henri Van Lier analyzing the individuation at Simondon. In turn, the author analyzes under the anthropogenic eye ‘the mode of existence of technical objects’ (reported in the Phylogenesis section on the Van Lier site) and Simondonian individuation, in view of its contemporary approach to individuation. (The new age, 1962) as well as the limits that it perceives in the evolution of this process and the cosmogonies (of the artist in speaking of Micheline Lo whose beautiful paintings illustrate this article) and cosmologies (of the scientist by making alluding to Simondon) coming out. There are also elaborated different hypotheses that the reader will have the pleasure of discovering, such as that of « transductive individuals » capable of « being interfaces between an internal environment and an external environment » or the close relations of the metaphysician and the painter. A world of great richness in the context of artificial intelligence and contemporary art makes perfect sense.
Claude BERNIOLLES, a law graduate, is both a poet and a writer. His contribution to the deciphering of the works of great contemporary authors is precious to PLASTIR and has given rise to several of his contributions, each time combining poetry, historicity, narrative and fine literary analyzes of the writings of authors such as Anatole France, Barthes, Cervantes or Wittgenstein (see Summary). Among his literary approaches, there was one that was particularly close to his heart while he was attending the lectures of the Chair of comparative studies of the poetic function of the Collège de France (1981-1993) by Yves Bonnefoy. In PLASTIR 27, 06/2012, he will situate his reflections on the great stages of the great poet’s work, focusing his research on his relations to the unconscious and to psychoanalysis. Dense and very detailed text on the undersides of his « treatment of art », addressing as much the psychoaffective frame and the intimate relations of the poet with his creation as the major turning points that he operated, notably with « the hinterland « , Not to mention the artistic plot and its interpretation of the works of Poussin, Giacometti or Piero della Francesca. In this issue, there follows an original approach, a staging where the author is both an observer and critic centered on the relationship between poet and gnosis. A literary journey following the time of the poetic act and the intricate process of writing. The universe of Bonnefoy appears there as « deviant », alchemist or in search of the Grail whereas it oscillates « between the Gnostic temptation which is dangerous for the poetry and that which is not it identically for the poet ».
Bernard TROUDE is a sociologist, PhD in Art Sciences from the University Paris I and a researcher in several laboratories at the Pantheon Sorbonne (University Descartes Paris V), notably at the CEAQ (Center for Studies on the Current and the Daily). He is also a general engineer, professor of design sciences and industrial aesthetics, co-director of « Re-thinking the ordinary », visual artist and contributor to numerous journals such as Plastir, Ganymede, Cahiers de l’idiotie (Montreal), European notebooks of the imaginary, Arts and Sciences or Ethic, Medecine & Public Health. He recently joined the University Laboratory of Cognitive Science in San Francisco where he contributes to the General Medical Journal of Normal (near Chicago, USA) which brings together all medical university editions. This contribution by Bernard Troude, regular author of PLASTIR (see summary), follows his last article (PLASTIR 51, 09/2018): “The hermeneutics of a subtled difference of cerebral volume – Strategies for a data”, seen from the angle of the hazard and the thought of the TWO. An original, agonizing approach to ideas at a time when there is a tendency to smooth differences, which can lead to a destabilization of genres, or on the contrary to exacerbate them with sexist or homophobic movements. Bernard Troude, a troublemaker and wise philosopher, quotes Gide, Huisman or Ribes and we face the duality of the 2 and its naturalistic side to extract our first reactivity. Let’s echo it!
Christian RUBY is a philosopher, lecturer at ESAD-Talm, site of Tours, Master level, member of the Research Committee of the Ministry of Culture, and member of the Board of Directors of FRAC Center-Val de Loire. He is a member of the ADHC (association for the development of cultural history), ATEP (Tunisian association of aesthetics and poetics), the collective Entre-Deux(Nantes, whose vocation is the public art) and the Observatory of the Freedom of Creation. Latest books published: Abécédaire des arts et de la culture, Toulouse, L’Attribut Ed., 2015, Become a spectator? Invention and mutation of the cultural public, Toulouse, L’Attribut Ed., 2017, Scream, and shout!Nine notes on the cry of indignation and dissent, Brussels, The stolen letter, 2019. Reference website: www.christianruby.net. Last part of a series of three articles published in our review: “The plasticity of an artistic and scientific archipel” (PLASTIR 52, 12/2018) and The work of science in “The beautiful form and beautiful form in the work of science shape in the work of science” (PLASTIR 53, 03/2019), this last raises the problem of the relations arts and sciences starting from the philosophical doctrines and the traditional oppositions. From Emmanuel Kant to John Dewey or Gaston Bachelard and phenomenology, it is important to draw a panorama of the articulations conceived throughout the twentieth century, both in science and in the arts. A table recapitulates the positions, and launches another time the analyzes on the notion of « exchange surface » that we had already presented as a vector to exit common cognitive frameworks.