THE AESTHETICS OF THE UNSPEAKABLE – HERMENEUTIC FRAGMENTS OF THE WORK OF ART OF YOEL TORDJMAN –
Nathalie PAOLUCCI is hypnotherapist and the director of the Noesis Institute. PhD in human sciences in the crossed domains of the philosophy, the psychoanalysis and the Italian literature, she leads searches in sciences of the communication, in maieutic, in phenomenology and in Taoist philosophy in an interdisciplinary spirit before basing in 2013 the Noesis Institute, an institution of training and search about the eriksonnian hypnosis, in integrative coaching and in art of the communication. Yoel TORDJMAN is a French-Israeli painter arisen from printers – typographers’ family which practised all the arts going from the reproduction to the typography, via the graphic or Web design, photography, the digital art, painting or sculpting. He also created numerous international or governmental artistic projects and realized new concepts such the first artistic video clips between 1999 and 2002 and newspapers with a revolutionary design (2002-2008), before becoming consultant and orthodox art director of a High Governmental School (Academy of Science and technologies). Since 2011, he spreads his works (more than 300 paintings) on the social networks and knows a success growing with the Internet users. He recently exhibited paintings in Tel Aviv, Jerusalem, Paris and New York (2012-2013). Nathalie Roudil-Paolucci has the great merit to approach the work of Yoel Tordjman without reducing it, at the same time under the phenomenological angle, favouring the experience and the project of the painter, and under an intimate angle, favouring the appearance of the signs and plunging us into a quasi-hypnotic trance convenient to the sensory exploration of its Presence. And it is the price of this asceticism that she succeeds in getting loose from any subjectivity, in seizing and in revealing the “hidden” sense from the work, in “leaving the writing derealize” following the example of the poetics of Dante or the proposal of Nietzche “to tilt things and not words”. A multitude of senses and a unique route, a strange attractor, which captivates in an instant, lives and perceives itself timeless. And the author to quote Pinieri who summarizes perfectly this unspeakable moment: “It is clearly a strangeness of the man to the world of a native exoticism about which speaks the paint. The exile of one, the collection of a more just and fertile earth calls the possibility on behalf of the man to think to design on an adversative mode not as a “plenitude” or a lack but as to be excessive. There is undoubtedly a deep relation between the utopia and the unfinished condition of the being to the world”. And it is necessary to recognize that the more we discover the Yoel Tordjman’s collections with so suggestive titles – Transmutation, horizon, Expression, Illusion, Projection, Blooming, Evolution-, the more we dive into this metaphysical universe which sets in the body, annihilate the thought – its big strength – or shows the plasticity (Debono, 2013), the more we are haunted by his presence and the questionings which he engenders. To answer it would be underestimate the work of the artist so much he touches the main part, the nature of the nature of Morin, the meaning of the sacred of the Talmud or the consciousness of the world of Borges. In other words, poetry itself. Any attempt to deviate from this trajectory seems without object, otherwise, as the author evokes it by referring to Roustang, by snatching this “open space oneself towards the world. The which collects beyond the forms and crystallized plans”, this “perceptude” leading to live intensely the aesthetic experience, to go as closely as possible to him between – two worlds, where the levels of reality are susceptible to cross and to transcend themselves. Nathalie Paolucci so ends: “The work of Yoel Tordjman allows to conquer the “creality” which we need to live in peace with ourselves and the world. So, thus create its reality from the fragments of the reality, recreate its life because everything restarts in the movement and the indefinite, to activate new representations, to reorganize its existence because the Open is at work, to accept that everything is vanity, only vanity and, the existence will calm down”. We can only agree and encourage you to make yourself the experience of this creality through the unspeakable paintings of Yoel Tordjman.
THE PHILOSOPHY OF HAPPINESS AT WITTGENSTEIN IN THE LIGHT OF THE TAO
Claude BERNIOLLES is a poet and a philosopher. Awarded in law, he is early-entered in literature, following the tracks of the Bonnefoy and Bouverrese. He continues since a research work on Wittgenstein who was widely relieved in PLASTIR (n° 20, 23, 25). Having handled the links between Wittgenstein and Tchouang-Tseu in his last article, Claude Berniolles takes in scarf the essay of the philosopher and renowned sinologist François Jullien (Feed his life – In the gap from the happiness) to introduce an original reflection from the rare papers on the happiness of Wittgenstein. For whom knows a little the author of the Tractatus, we often find at the Viennese philosopher’s what we bring it oneself, a little as in shared student potluck meals … It is here about Tao. Both at Wittgenstein, and the Chinese side, reference texts speaking about the happiness are apparently very eclectic. The thesis is that Wittgenstein would look like » modern wise person « , in the thought closer to Lao-tseu, that of the eudemonism of the Greeks. It is difficult to retail the resemblances and the differences between the thought of the happiness at Wittgenstein and in Tao; but doubtless we can say this: 1 /A fundamental thorough difference on the notion of subject (no subject in Tao, the Space is the key); But certain parallel in the way of reasoning which affects the indefinite and the allusive 2 / A different vision of the world in the plan of the philosophy of the happiness strictly speaking at Wittgenstein and what is the serenity of the wise person in Tao 3 / Some acquaintances as regards the psychology and of the aesthetics of the happiness 4 / The sparkling of a same light seen in a similar way in one beyond immanent, both at Wittgenstein and in Tao.
MEETINGS AND PERFORMANCES: OPENING AND OBSTINACY OF IMAGINATION
Pascale WEBER is Lecturer (Performance / photography) at the University Paris I Pantheon-Sorbonne and a member of the team « Aesthetics of the performance and the arts of the spectacle » (EsPAS) of the Institute A.C.T.E. and researcher associated with the Institute Pascal (Robotics Labex and artificial vision, UBP Clermont 2, France). In the duet Hantu she forms with Jean DELSAUX, she is a performer and works in particular on the Memory and the Identity by visiting the Indonesian rites, the kinds or the representations of the body. Jean Delsaux is as for him also Lecturer (University of Auvergne) and researcher to the institute Pascal (same lab) and visual artist. His centre of interest is the perception of space and the space, by the interrogation of the relations that we establish by the image and the representation with the world which surrounds us. Together, their duet defines itself as such: “They design and realize performances in which a body in movement is confronted with an outside look. Pascale Weber isolates herself according to a procedure in permanent redefining, she tries to get energies which cross his body, to let express herself what sometimes resists the understanding, the understanding. She tries to enter in touch with the not visible. Jean Delsaux, foreign to these strengths, has for role to capture, to pass on and to make meaning what takes place, which managed, to make visible the invisible, to reveal the moments of shift of the performance. The dialogue between the body and the look builds itself outside the verbal language. Hantu establishes a communication enter a body which « performs » and an eye which « performs » on this body. The performances try to put on stage a reality which reveals the present body and its link with the eye which observes it.” Their performances were presented in particular alone or in duet in Paris (Palace of Tokyo, 104), Marseille (Fallow land of the Belle de Mai), in Tunisia (Kheireddine Palace in Tunis), GB (Plymouth), Portugal (Avanca-Porto), the USA (Albuquerque), Taiwan (Taipei, Chiayi), Indonesia (Jakarta), Canada (Montreal), Italy (Milan), Germany (Cologne) … The subject which they present to us for PLASTIR handles interactions between the nature and the culture, between the reality and the imagination, between the art and the science. However, it is not approached on the purely intellectual plan, but by means of the field experience, by means of the performance, by means of the real-life experience, by means of the meeting with cultures situated to the antipodes one of the other one, what gives him all his value. Hantu so summarizes it to us: “We live surrounded with trees, with robots, with flowers, with digital networks, with jungle and with stone. We evolve in companies of control and it is also important to understand what, in the technologies, determines our life that to understand what in the forest favourite or puts it in danger. In this article, we put on the opposite page, through the meetings which allow our various projects, certain experiences led in the context of animistic traditional cultures, other, developed with roboticists and IT specialists within research laboratories.
ENGAGING WITH INSIGHT OF A HIGHER ORDER – RECONCILING COMPLEXITY AND SIMPLEXITY THROUGH MEMORABLE METAPHOR –
Anthony JUDGE was for a long time a director of communication and the search in the UIA (Union of International Associations), a structure asked to list and to build interactive encyclopaedic databases on the resource management and the human development such as The Encyclopedia of World Problems and Human Potential or the Yearbook of International Organizations. Very prolix author, he published an incalculable number of papers and documents bound to the governance, the information, the knowledge and the strategy. In 2007, he bases the union of the imaginative associations (Union of Imaginative Associations) that has for objective to answer the flow of information and the increasing complexity of the world by a constant curation and the production of interactive multimedia documents such as those whom we chose to publish in PLASTIR. As in his previous service exploring the cognitive capacities and noopolitics of transmission of the information of blackbirds published in PLASTIR 36, 09/2014 with a new vision of reality, Anthony Judge shows in this paper his encyclopaedic knowledge and a quick-wittedness which always surprises and still, sometimes irritates, but questions frankly the big challenges of the modern world. The approached subject handles this time of an unexpected question at first sight, but that we all settled some day: What urged to me to make such decision or orientation? How intelligent beings can at a moment of their life fall over, become the blindly obedient followers of such guru and wait without batting an eyelid for the messiah or “the emergence of an ultimate plan”? Is there a higher order or a supra-consciousness, who some people connect through charisma, mastery, brilliant intuition or big visionaries? A pressure of commitment in a way X rather than Y that does not answer a purely logical deduction, but rather an order? Order that we can bind in to the part of fathomless that there is in us, in a cognition embodied on the individual plan, but more globally in the “theory of the whole”, the reliance of Morin or the noosphere of de Chardin (Gaia). The author also wonders about “the extraordinary sense of perfection” which arises from the acute aesthetic experience, from the pure creative act or from “love at first sight” during the love affair. How and to where does it commit us, how to manage this powerful attraction, this mystery, this strange attractor? Can we moreover manage them? Anthony Judge handles the subject by the transverse, exploring one by one the joints which drive the human beings to make a commitment, only or in a group, in such ways, studying the complexity of the words and the answers that we can bring it without prejudice to the reality of the transcendent nature whatever upper order it is. An attempt ensues from it first of all to reconcile the complexity and the simplexity by the metaphor: Subtle strategy taking into account the multitude of appearances of perfection which the man can live, the recognition of these only moments or “superior orders” through a new way of thinking, more metaphoric, more represented, more “memorable”. In second intention, the author led or suggests diverse strategies or possible action plans turned to the challenge, the anathema or the confrontation of the “Satanism”, the metaphors of the perfection questionable through the meditation, the consideration in mirror of a higher authority and the apprenticeship of the wisdom. We let you discover and choose these multiple ways, which cross nature and culture, the arts and sciences and the human psychology, with as first objective to live a better and peaceful world. This article is also available in dynamic mode on the author’s website: laetus in praesens.