Plastir Number 54


Pr. Ervin LASZLO is an Hungarian epistemologist, recognized as the founder of systems philosophy and general evolution theory. His work in recent years has centered on the formulation and development of the “Akasha Paradigm,” the new conception of cosmos, life and consciousness emerging at the forefront of the contemporary sciences. Founder and President of The Club of Budapest, Director and Co-Founder of the Ervin Laszlo Institute for Advanced Study (ELIAS) and of the Laszlo New-Paradigm Leadership Center (Italy), Member of the Hungarian Academy of Science, Fellow of the World Academy of Arts and Sciences, Member of the International Academy of Philosophy of Science, Member of the International Academy of Systems Research and Cybernetics, Senator of the International Medici Academy, and Editor of the international periodical World Futures: The Journal of General Evolution. He is recipient of the highest degree in philosophy and human sciences from the Sorbonne, the University of Paris, as well as of the coveted Artist Diploma of the Liszt Ferenc Academy of Budapest. Additional prizes and awards include four honorary doctorates. His appointments have included research grants at Yale and Princeton Universities, professorships for philosophy, systems sciences, and future sciences at the Universities of Houston, Portland State, and Indiana, as well as Northwestern University and the State University of New York. His career also included guest professorships at various universities in Europe and the Far East. In addition, he worked as program director for the United Nations Institute for Training and Research (UNITAR). In 1999 he was awarded an honorary doctorate by the Canadian International Institute of Advanced Studies in Systems Research and Cybernetics. He is an advisor to the UNESCO Director General, ambassador of the International Delphic Council, member of both the International Academy of Science, World Academy of Arts and Science, and the International Academy of Philosophy. Twice nominated for the Nobel Peace Prize (2004, 2005), he got Goi Peace prize (2001). He is the author or co-author  of more than 50 books (including “Science and the Akashic Field: An Integral Theory of Everything”, Inner Traditions; 2Rev Ed. 2007), which have been translated into twenty-three languages, the editor of another thirty volumes including a four-volume encyclopedia. In this exceptional contribution to PLASTIR, he reaffirms the impact of discoveries in quantum physics on planetary, biological and human evolution and presents an integral and unique scientific paradigm in the history of philosophy of science since Kuhn. A new vision of a world where the being and the environment form one, approaching, as regards the field of life, ecophysiological or mesological approaches integrating the subject into his singular milieu. But even more, he develops the Bohmian concept of in-formation dealing with the quantum vacuum but whose manifestations are observable in our physical world and presents as follows the paradigm shift of science: “The Manifesto of the Integral Paradigm in Science re-states the basic principles of the integrative paradigm emerging in science, in particular in the quantum disciplines. This paradigm views the universe as a coherent integral quantum system that incorporates both substantive (quasi-material) and and ideal (consciousness-like) elements. It opens new avenues for clarifying the relationship between part and whole, as well as of the relationship between matter and mind. Elaborated and evolved around the lines suggested in the Manifesto, it provides a science-based holistic view of the natural world, and of the world of life and mind as integral elements of the natural world.” It is up to us to cross this field of information and to try to find there the memory of the life which we inscribe there ceaselessly.


Hervé BERNARD is an internationally renowned visual artist, photographer and image theorist. « Writing with the eyes » is my job, he says. « It is also analyzing the image, talking about the eye, the cultural interpretation without forgetting the role of the technique (…) I associate the photo, the video, the cinema, the writing and a research on the image. I do not reproduce reality, I try to reveal points of view. The Anthropocene is at the heart of my work. The themes of the environment, urban planning, global warming and particularly those of water and landscape all located in the heart of the Anthropocene-geological era that began when human activities had a significant global impact on the terrestrial ecosystem are dear to me. » Director of fifteen films including Footprints at the Cannes Shortfilm Corner 2015 and two award-winning films at Deauville GreenAward FilmFestival2016, his photos are present in the collections of six museums and exhibited and published in Europe, the US and Taiwan. Trainer-lecturer and consultant for many organizations, he is the author of Regard sur l’image (, a cross-sectional essay on the understanding of the image through visual perception, image technique and culture, prefaced by Peter Knapp (former artistic director of Elle, fashion photographer and teacher at the school Penninghem) which was presented as part of the World Day 2017 Color organized by the CFC to the BNF and won the Prize of the Academy of Color 2016. Thirty magazines have published his images (Europe, United States). His photographs of the city are in the collections of the National Library, the Carnavalet Museum (Paris), the Historical Collections of France-Telecom, the National Fund for Historical Monuments …). They were exhibited in France (Space Canon, Center Pompidou, National Photography Center (now National Gallery Jeu de Paume since its merger with the Photographic Heritage), Carrousel du Louvre – launch of Sun UltraSPARC processors – Exhibition of Photo96, 9th Film Meetings Beaune, the ADAC (…) or in Europe (8th Film Festival, Charleroi …). He is also member of the TK-21 LaRevue editorial board, an online magazine about the image and board of directors of the French Center of Color and was a member of the jury of the Vulcain Prize awarded as part of the Official Competition of the Cannes Film Festival in 2009. Currently (2018-2019), he gives lectures at the National School of Judges (continuing education of magistrates) and is  » Visiting Lecturer  » for the Uparis program (The University of Miami in Paris) The preamble of his contribution to PLASTIR summarizes his etymological, pictorial and photographic approach of the landscape: « Culture, whether agricultural or social, is a palimpsest. Both are built on the positive or negative contributions and omissions of previous generations. For agriculture, the disaster of the Round-up teaches us-we can hope for it. In both these fields, the input of inputs or inputs of previous generations is essential in the development of micro-organisms that ventilate the soil or the mind. For Culture, we find this palimpsest in the superposition of religious monuments of various religions, in the establishment of strongholds, superposition that mark the landscape as much … Culture, like the landscape belong to the Commons. To cultivate a practice is a way of celebrating it, of honoring it, as the Latin cultus means, which simultaneously means culture, worship, but also teaching and worshiping. Culture and landscape are closely linked. This is probably why the term landscape is the only word in the French language that designates two professions: that of the painter and that of Le Nôtre « . A speech, an image always have a sub-text a sub-image as shown in the tribute series. What is the subtext of the landscape?» An iconographic program to explore!


Valeria DE LUCA obtained a Ph.D. in Linguistics and Semiotics at Limoges University (France), with a thesis on dance and semiotics (Argentine tango). She was a lecturer at the University Lumière Lyon2 and now she is associate researcher at Limoges University. Her work focuses on the notions of form/figure in dance and general semiotics, as well as on those of style and figural in diverse socio-aesthetic practices (reenactment, textile crafts, performance). She is the author of several scientific papers and is writing now her first book on semiotics and tango. In this paper, she will focus on the relationships between arts and science through the lens of the notion of atmosphere, as developed in contemporary aesthetics. In particular, she will suggest the notion of image-atmosphere with regard to the analysis of the art installation and dance performance « Le mouvement de l’air » by the company Adrien M. & Claire B. In this framework, the notion of image-atmosphere will allow us to understand the imbrication between dancing gestures, digital images, and dance images. Finally, it will allow us to outline a figural dimension truly digital of the produced images that could work as a memory tool based on the restitution of the atmospheres.


Ana REWAKOWICZ is an interdisciplinary artist born in Poland, living and working in Montreal and Paris. Graduate of Ontario College of Art and Design, Toronto and Concordia University, Montreal (MFA), she is currently pursuing her PhD in art and science at École Polytechnique, Paris. Known for her stimulating, interactive, inflatable works that question our relationship with the environment, she is concerned with issues of sustainability and technology as an opportunity for social transformation. Presently her art engages in growing environmental complexities with a particular focus on water. Rewakowicz has works in permanent collections of the Museum of Contemporary Art of Rome, Italy (MACRO), Musée d’art contemporain de Montréal, Musée national des beaux-arts du Québec, Musée de Joliette, and has exhibited in Canada and around the world, including Copernicus Science Museum (Warsaw, Poland), Bienal del Fin del Mondo, (Mar Del Plata, Argentina), ISEA 2014 (Dubai, UAE), Foundation Stiftelsen 3,14 (Bergen, Norway), Anchorage Museum (Alaska, USA), Pori Art Museum (Finland) and La Maison Europénne de la Photographie (Paris, France). She is the recipient of many awards and grants and her artworks have been reviewed in various magazines and books such as the “Inflatable: Art, Architecture and Design” anthology. Her nomadic artwork SleepingBagDress is featured in Microtopia, a documentary film by Swedish director Jesper Wachtmeister about micro dwellings, downsizing and living off the grid .The paper published in PLASTIR comes from a presentation at the “Water is in the air” Workshop that took place at IMéRA in Marseille, France on June 25 – 26, 2012. It explores the anti-entropic role of art in the service of designing a better world. The vehicle for this journey is art and the steering wheel a concept of design-science developed by Buckminster Fuller. Using the example of my recently produced piece entitled “The Cloud”, I demonstrate a collaborative spirit of art and science through the process of creation. Author website :

Un Commentaire

  1. Je cherche à contacter votre revue PLASTIR.
    Le bouton SUBSCRIBE ne fonctionne pas.
    Je ne trouve ni adresse, ni contact, ni mail, ni moyen de vous joindre
    Je voudrais vous proposer un article de Henri VAN LIER (voir wikipedia)
    Comment faire ?

Laisser un commentaire

Votre adresse e-mail ne sera pas publiée. Les champs obligatoires sont indiqués avec *


    Give your input !