Plastir Number 30 – 06/2013


Florian GAITE is a PhD student in the department of philosophy of the contemporary creation and the epistemology of the neurosciences ( Sophiapol) of the University Paris Ouest Nanterre supervised by Catherine Malabou. He is also a critic in Contemporary Art and commissioner of exhibition. Among the demonstrations  that he oversaw: Weird and wonderful (collective exhibition among which Jean-Luc Verna, Salvador Cidras, Ariel Kenig, Jérôme Lobato, Kael T Block), Plastic arts and performance, Gallery Loft 19-S. Tarasiève, Paris, in June, 2009; Vidéoburo 2 (with Laurent Pernot, Emilie Pitoiset, Laurent Fiévet etc.); A new Air, Paris, July, 2010. Among those that he criticized: Bad Romance de Pascal Lièvre, for the Gallery Vanessa Quang, Paris, in September, 2010; the Banquet of the Snow White de Catherine Ba ÿ for the Georges Pompidou Center (Paris); within the framework of the  » Meeting of the forum « , in July, 2010; Hairstyle of Franck Rezzak, for the Gallery Agnès B, Hong-Kong, January, 2011. He published or criticized the works on Public Reason such: Catherine Malabou: change difference (2009) or Thierry Davila: at the last minute. Essay on the art and its déterritorialisations since 1960 (2009), and intervened during the study days of the laboratory Sophiapol on the following themes: the resumption. Memory(report) and plasticity of the art at the post-historic age, to Create without novelty: the art and the politics(policy) today, The Defense, in March, 2011 the theme of which concerned  » the crossed artist: can we give a philosophic definition of the plastics technician?  » Then  » The hybrid in the test of the crossed looks « , organized by the laboratory LLA-Créatis, Le Toulouse-Le university, in May 18th, 2011. The article which it presents us for PLASTIR arises from its entitled current thesis:  » The Knot blows up some art. Think of the contemporary déconcertation. Runner of justifiable questioning on the future of the plastic arts and their co-implications or the gush towards the other disciplines, with a preference for the neurosciences, he is situated in the heart of the contemporary questionings on the notion of plasticity. This one is de facto fundamentally questioned about the abstract plan by two current currents, the one in post-Hegelian philosophy in the lineage of Malabou, who aims to be transformationiste and integrate  the demolition of Derrida and the negativity blows up in which one the author joins, the other one in epistemology according to the interdisciplinary approach of Debono which presents the  » complexes of plasticity  » as plastic interfaces co-meaning the reality of the world which surrounds us. What shows through in a objective way in these approaches, it is their at the same time synchronous and crossed genesis, leaving of the philosophy towards the neurosciences for the one and conversely for the other one, having objects, methods and different expectations(waits), but common or convergent objective: that of the gratitude(recognition) of the concept of plasticity as dynamic principle anchored in reality. Yet, Florian Gaité, whose major concern is to rethink the plasticity of the contemporary art compared to the endogenous neuroplasticity of the subject, is situated at the heart of our common concerns, deepening with a big control (master’s degree) all the aspects bound to this interaction, in particular those affecting the plasticity of the art and the spirit. He so shows us that one of the ways to reach is there to take out the plasticity of its purely artistic yoke, of  » the sculptural metaphor of the spirit « , of the ideal Hegelian, in other words his metaphysical presupposition bound to the esthetics by reconciling the opposite: the strength blows up of Nietzche and the ideal plastic of Hegel. How? By authorizing a naturalistic reading of the Hegelian philosophy, by reconciling two visions of the art radically brought into conflict (transcendence against immanence, unity(unit) against tension), by bringing them to naturalize together the plasticity of the spirit, joining there, he seems to us, our ternary dialectic of the plasticity described as a third naturally included within implacably bound(connected) terms (here the complex neural-mental-plasticité; PLASTIR 18, 03/10). However, the debate plays here more on the cérébralité of the plastic act, in other words the active role of the neuroplasticity at the same time in the genesis of the work and  » as frame(executive) of a new materialism of the art « . Term to be dissected in départissant possible faults of the empiricist neurosciences and the neuroesthetics and by adopting a tripartite vision of the art  » as capacity of development, adaptation and repair « , in other words to think of the plasticity of the image –  » according to which the art and its thought form: Bildung  » – of the brain. And Florian Gaité to press his thesis on the fact that he recuts completely the  » plastic nietzschéenne strength « , presented as a strength of adaptation, repair and development of the individual, the peoples and the civilizations. More generally, it is a question for the author of rethinking the plasticity of the art by giving to him(her) a new ‘materialism’, not focused on the esthetics of the object and taking into account the psychophysical unity of the subject. It is a question of historicizing the subject of the art, of giving to him a new « cerebral » character, an affected  » cognition  » and of revealing the psychic plasticity of the artist in all its dimensions, in particular those of its cognitive and psychoanalytical unconscious. The art as the  » plastic strength  » is undoubtedly its battle horse (hobbyhorse). In go out, a revivified concept of plasticity and which takes all its sense on the epistemic plan.


Pierre UZAN is a professor of physical sciences to the foundation of health of the students of France and researcher associated with the laboratory SPHERE (UMR 7219 CNRS (NATIONAL CENTER FOR SCIENTIFIC RESEARCH)) dedicated to the interdisciplinary study in sciences, philosophy and history(story). Having made two doctorates of philosophy, the one supervised by Michel Bitbol in 1998 entitled  » Towards a logic of semantic time(weather): irreversibility, quantum measure and process of the representation  » and the other one under that of entitled Daniel Andler  » Consciousness and quantum physics « , he(it) develops an informative original theory of time(weather), several models of space-time, the relation body-spirit as well as quantum approaches of the consciousness resulting in a logic of complementarity and intricacy. The author participated in numerous congresses or seminaries(seminars) of the ENS(TEACHER’S TRAINING COLLEGE), the IHPST or the ISST on these themes and published in particular his first thesis(theory) in the University Press of the North in 1999 and the second which has just appeared in the collection Mathesis of the publishing(editions) VRIN (2013 ). The article which we publish so joins in right line Pierre Uzan’s searches(researches), by showing how is situated the quantum approach of the concept of psychophysical unity(unit) with regard to(compared with) the various schools or the traditions which approached him(it). Of the order  » implié  » of Bohm and Hiley in the theory of the synchronicity of Jung and Pauli, the author makes us discover the underlying levels of information and reality to the psychophysical interface, the human plasticity of which is probably the brilliant reflection. The unus mundus and the archetypes of Jung exemplify quite particularly this approach among which the « intuitive » quantum part is reinterpreted in the light of the works of Atmanspacher and of Dominated with a neutral balance sheet(assessment) in term of crack of a symmetry and a not causal network of correlation evoking the monads of Leibniz. It is thus the quantum mess connected(bound) with precise temporal modes, and not the causality, that is at work in this frame(executive) and applies to the unus mundus. Contrary to a plentiful, often cut up and otherwise speculative literature, on the subject, the author shows us here that he is possible of ré – to analyze the psychophysical complementarity and his relation in time(weather) in a formal physical and mathematical frame(executive). This rigorous representation gives all its weight to the Chinese traditional philosophies, to the theory of the synchronicity and to the archetypes of Jung. She could besides find concrete applications chronopsychologie. It seems thus urgent that such a psychophysical reality, which finds blatant echos from the point of view of the co-emergences described at the level of the plastic interface material(subject) – psyche, in particular of the convergence between archetypes and complex of plasticity which was underlined there, is taken into account in one more large scale(big turntable ladder).


Jean-Pierre DESTHUILLIERS, engineer in aeronautics, is a poet, a publisher and a philosopher. Vice-president of the European Institute of Human Development, he theorized in particular and put into practice the situational analysis and the concept of sociodynamics. Member of the French Poets Society, co-creator of the Pont de l’épée and of La Jointée, he leads the very rich website Adamantane dedicated to the discovery of polychromatic literatures and experimental writings, poewrittings contemporary creations, anthologies and polygraphies of all kinds. We had discovered him during his first publication in PLASTIR 15, 06/2009 entitled “Triangulation of the perception: the handaxe and the bone of cuttlefish” where he answered in a relevant and original way to the previous papers of De Caso and Hodgson. This time, he addresses stricto sensu the plasticity of the tongue, his own tongue, by reporting, as only a poet can make it, a chiselled real-life experience, the volume, the shape, the indentations, the caustic, the phonations, the healing of which we pursue finally, through a course leading us directly to the foundations of the plasticity of the language. His tool of ‘undermining’, less the feather than the rolling pin of the plastisseur. Skilful neological instrument allowing the author to deepen the links between the four plasticities: the organic, the psychomotor, textual and the mental one. But far from contenting himself with playing on the metaphors, even they were archaic, expositive or stemming from the philosophia naturalis, Jean-Pierre Desthuilliers leads us through extremely precise surgical cuts of his organic felt – the plasticity Earth-, of the representation of his plasties tongues, in search of a symmetry lost by his tongue. The reader will delight in coherent raids of the acheulian handaxes in which he hints before throwing (planning) the exeresis or exegesis in the heart of the functional plasticity of the subject. Everything is scrupulously described there, without omitting the slightest detail, from the movement of the muscle to the mode of representation of sounds, from the fundamental role of the tongue in the emission of dental consonants, labials and other liquids in the psychomotor fields which are associated to them. This subtle progress vocalizing the poewritting (poécriture), the work in the language leads us any directly to question neurosemantics, what hides from it and what it reveals us of our mentality. What we can observe then is a world in four plastic dimensions and a propensity in plastir which can only consolidate us in the excessive use of this word which we love. The conclusion, although temporary, is just like this remarkable ode in the plasticity, at the same time pragmatic and opened on the future: “The plasticity of the tongue, a verifiable phenomenon, infers as consequence and as condition the plasticity in the tongue (the language), and adapts, even takes advantage of it. The plasticity in the language, a potential reality, facilitates this adjustment of the sound in the meaning the poet of which has to master mechanisms to exercise his art of the word.”


Bernard CARMONA is a doctor in sciences of the education and management consultant. He was brought to develop a transdisciplinary tool (TD) within the framework of its researches and of the elaboration of training courses. He recently published in the collection Interfaces and Transdisciplinarities of the editions L’Harmattan “The awakening of the genius of the learner” (2009) introduced by Martine Lani-Bayle and postfaced by Gaston Pineau; a book which leaving of the construction of a cross-cultural project at the Reunion (France) puts at the heart of its concerns the cognitive, situational and linguistic modes which allow the subject to express at best the Ingenio of a Giambattista Vico and the real Disegno, the one who is at work in the acted elaboration by our deep motivations, the one who urges us to transcend, to forge ahead in the pathway of knowledge. The fruit of its searches in engineering lead him to investigate new and sometimes unexpected ways that he explains us as follows: “After having proposed in 2009, a first exploration of the intrinsic genius of an engineering of training: the Awakening of the Genius of the learner, he persists, through a doctoral research, in titillating geniuses: due to rubbing itself in his object of studies – The Practice of the debate of the Tibetan Buddhism -, he sees appearing three geniuses of a triptych which transforms him, on the way, into a transdisciplinary practitioner: practice of the debate, Metaphor and Systemic Reading of the Imaginary harmonize through the events of their emergence and their experiment to merge finally in the tool which each can test in his training throughout the life. This article tells briefly the story of the co-birth of the mixed lives of a practitioner and by a Transdisciplinary tool: a ‘plastic’ phenomenology.” Indeed, this phenomenology is presented to us by the author at the same time as didactic subject (birth maieutics and modelling of the TD tool, thread of the weft and of the weaver) and as object of experience. An experience lived through the Gelugpa tradition and through the re-emergence of the founding mythology through his Spring in Prague; journey strewed with the spectres of the World War II, with Dalladier, Chamberlain and with Hitler, with Jan Palach’s immolation, readings of Kundera, with the cubism, with Mozart or with the metamorphoses of Kafka. A metaphoric experience borrows of mythopoetic concepts, of systematic analyses, a hermeneutics interrupted with stases, of anthropotrainer moments and of the ultimate appearance of a Disegno deserving of Vico and Durand, in other words where the imagination drives the ingenuity to its highest summit. At the end, we have certainly an effective TD tool, but also as concludes it the author, an approach which “joins in an ethics of the knowledge such as promotes it Edgar Morin for 30 years, when weft and weaver, object and subject, build up the one to themselves, the other one or to use a ‘plastic’ representation tighten, relax and spread, the one, the other one”.

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