POETICS OF THE TIGHTROPE RESEARCH AND CREATIONS IN AUGMENTED DAYDREAMING
Nathalie DELPRAT trained as a physicist and studied music (violin, 20th-century musicology at IRCAM/EHESS, Centre Acanthes). She holds a PhD in Music Informatics and teaches at Sciences Sorbonne University, where she has created interdisciplinary courses (arts-sciences-philosophy). She is a researcher at the Interdisciplinary Laboratory for Digital Sciences, LISN-CNRS Paris-Saclay, where she co-directed the VIDA (Virtuality, Interaction, Design, and Art) research group. In this capacity, she participated in the creation of the Paris-Saclay Diagonal and the organization of art-science events. Nathalie Delprat was awarded a CNRS delegation in computer science (2016) and in philosophy and art sciences (2020). She received the CNRS-Images prize at the Sciences en Lumière Festival (2018) and was awarded a Médicis residency in Rome (2022). Her work explores the imaginary world of digital technologies, particularly that associated with the virtual materialization of the body. She presents her approach to Plastir for the first time through the ELEMENTA device, which makes it possible to transform a person’s body into an elementary matter and to invent other explorations of the sense of self by modifying the body’s envelope until it disappears. This has led to new forms of mediation through images and the emergence of primal sensory experiences that hark back to nonverbal expressions of emotion. Artistic work has enriched scientific practice (and vice versa), combining feedback from a variety of audiences. This article will review the advances and unanswered questions raised by this atypical approach. It will share the detours, pitfalls, and challenges of a delicate process that draws on the scientific, aesthetic, and philosophical dimensions of the Augmented Reverie paradigm, paving the way for a poetic mode of knowledge that goes against the grain, alongside, and beyond established paths.
INTERVIEW WITH CLAIRE SAUVAGET: SEARCHING FOR OUR ROOTS IN NATURE
Khélil GOUIA is a professor and director of research at ISAMS, University of Sfax. After earning a master’s degree in philosophy and a DEA in art theory, he completed two doctorates in arts science and technology (University of Tunis) and visual arts (University of Toulouse Jean Jaurès). He has been president of the Tunisian Federation of Plastic Arts, editor-in-chief of the bilingual peer-reviewed journal Arts-Founoun, published by the Ministry of Culture, and has coordinated a number of international seminars and conferences in Tunisia and elsewhere. Author of several publications on aesthetics, poetics, and art history, he is also a visual artist, writer, researcher in art and humanities, and exhibition curator. Claire SAUVAGET, who holds two master’s degrees (MA Fine Art from Birmingham / Institute of Art and Design, UK) and a Professional Master’s in Digital Creation (Université Toulouse Jean Jaurès), is a french transmedia artist. Her multi-faceted works (sculptural installation, sound art, music and performance) fuse different materials and techniques (3Dprinting, plants, molding, drawing, video). Inspired by science fiction and experimental art forms, her hybrid artwork explores the relationship that human has with his natural and urban environment, combining art, ecology, and technology in a poetic and critical approach. Since 2008, she exhibits in France and Europe in artistic event, in contemporary art, digital art and also in outdoor places. www.clairesauvaget.com. Is the natural object for the creative act simply a material, or is it the very purpose of the work within an ongoing thought process? What can nature offer the artist today? Can art, as a creator of values, bring such meaning to nature? It is in this context that Khalil Gouia’s interview with Claire Sauvaget takes place: « We have tried to adapt the questions to the breadth of themes that this approach raises in us. Among these: Nature as a way of being, as a trace and immediacy… then Art, as transformation and restitution. This encourages us to redefine art in terms of its relationship to the natural object. But also, how can we consider the resistance of this natural object in the face of processes of artificialization, the effects of technology, and artifactual circumstances? These questions lead us to wonder about what is ontological in the natural object and what is poietic-aesthetic in the artist’s work. » This is the essence of this fruitful dialogue on art research established around the works of Claire Sauvaget.
CHALLENGES OF DIGITAL COMMUNICATION IN EMERGING COUNTRIES: OPPORTUNITIES AND LIMITATIONS.
Péguy LUMUENE LUSILAVANA is a lecturer and researcher in philosophy. A specialist in Henri Bergson (H. Bergson Society), he focuses his thinking on the intersection of metaphysics, philosophy of mind, and phenomenology-hermeneutics with contemporary science and technology: neuroscience (the concept of plasticity), information and communication technology, digital technology, and artificial intelligence. He is also interested in research methodology and questions of language pragmatics, particularly the issues surrounding discourse theory and the relationship between science and religion. he has published many works and since 2005 directs the Transdisciplinary Review of Human Plasticity. he has published many works and since 2005 directs the Transdisciplinary Review of Human Plasticity. After writing a plea for a neurophilosophic approach to reconciliation in Plastir N°73/06-2024, he develops here the central idea that digital mastery is an opportunity for countries seeking political, economic, and technological emergence. For the author, investing in this sector in terms of equipment and research offers multiple opportunities in terms of democracy, security, and sovereignty. However, this digital autonomy must be accompanied by the strengthening of critical thinking, because information technology, like any human artifact, remains ambivalent and requires an approach that integrates common sense, ethics, and respect for human rights.Thus, emerging countries will not be unaware of the apparent neutrality of this technology, given that the cultural context and ideology behind its invention, and the biases that guide the algorithms that perform its operations, always convey a worldview, a power of goodwill that can also conceal a desire for power.
« AMAZING SPACE ! DANIEL SILVER, HUMAN ACTIVITY, [BLOOMBERG SPACE, LONDON] »
Cécile VOISSET is an independent researcher associated with a multidisciplinary laboratory (Paris XII) that does not separate philosophy from literature. Her philosophy thesis focused on a myth. She writes and translates. She writes in particular about contemporary art, intrigued by color in general and space as expression. Her latest publications: Guy Hocquenghem. La Révolte (1946-1988), pref. by R. Schérer, Paris: éd. du sextant (2015); Revolt: Guy Hocquenghem (1946-1988), translated from French, Lambert Academic Publishing, June 2024; Identitary Order, LAP (2017); “Vicken Parsons’ Blue,” Plastir, no. 61, 2021 and Stael: space-time for colours and forces battlefield’s plasticity (la nature morte comme originalité staëlienne) » Plastir 71-12/2023. In this new article for Plastir, Cécile Voisset presents an exhibition that is anything but ordinary, devoted to statues by D. Silver, which was held in London from July 2019 to January 2020: Indeed, this was an unusual exhibition of D. Silver’s four tall large statues. A non-ordinary one, because of the ‘gallery’ where it took place according to the two meanings of that word: a modern musueum where the exhibition can be viewed, and a cave beneath where the situ is like its reason or explanation. Each of them stands at each angle of a quite medium sized room. The eye is captured by those massive figures: solid or imposing ones, all of them like a living contrast between surface and deepness. Actually, the Britain artist is committed to national present via Roman past, and its archeology – archè – is like a will to release himself from an unbearable policy. Identity vs conquest; birth or day making vs burying: autochtonia. Rough material into which shaping, and finally a shape in accordance with the ground like the base on which relying. Art is affirmative, bold: enable to make roots emerging, including the silent and painful ones. Very visible statues at first sight.