Hervé BERNARD is a visual artist (photographer-videographer, sculptor) and author of texts on the image. In addition to his plastic work, he also does theoretical research on the image. He has designed many interactive services for videotext and has published a multi-media work on the history of cinema techniques: « Writing with the eyes ». For the author, it is also « analyzing the image, talking about the eye that sees the image and the cultural brain that interprets it ». In Regard sur l’image, an illustrated essay, prefaced by Peter Knapp and a blog that won the Prix de l’Académie de la Couleur in 2016, he lays bare all the transformations it undergoes, from the moment we take it to the moment we look at it ». More than 30 magazines have published his images (Europe, United States). His photos of the city are in the collections of the National Library, the Carnavalet Museum (Paris), the Historical Collections of France-Télécom, the National Fund for Historical Monuments, etc.). They have been exhibited in France (Espace Canon, Centre Pompidou, at the Galerie nationale du Jeu de Paume, at the Carrousel du Louvre – launch of Sun UltraSPARC processors – Salon de la Photo96, 9th Rencontres Cinématographiques de Beaune, at the ADAC (…) and in Europe (8th Festival du Cinéma, Charleroi…). Since 2011, he has collaborated with TK-21 LaRevue, a magazine focused on images, was in residence at the Maison Descartes (French Institute of Amsterdam) and more recently under the aegis of the Hakka CulturalCenter, Taiwan (2019). Among his achievements: L’Écume de la Terre II and Eaux-Vives — Eaux-Fortes awarded at the Deauville GreenAward FilmFestival and Empreintes, a film on the Tuileries Garden, screenplay by Marco Martella, dir. Hervé Bernard, collections of the Forum des Images (Paris), presentation at the Short Film Corner (Cannes Film Festival) produced with the support of Dolby Europe and the Fondation des Parcs et Jardins de France in 2015. Among his creations: Closing to Losing Reason; Images, Thematic Classification; Film Regard sur l’image; Book Regard sur l’image and La Spirale; Manifeste. In Surrection presented in Plastir, we find all this infused science of the image put to the service of a concept linked to Rilke’s Elegies which aims here to describe a dynamic of life and humanity and the necessary paradigm shift that it imposes on us today. “The momentum of the dancer or even the saxifrages… power of nature as momentum, growth, pure act, without intentionality in some way and conversion of the flower into fruit without any reflection on these states being interspersed”. This is how Hervé Bernard introduces this short essay which leads us to explore the flaws and hopes linked to the force of resurrection through images coupled with words. It is about rethinking abundance, fears, passivity, overconsumption and the spiral of self-destruction into which this resurrectional movement has itself led us in order to be able to emerge from it on top!
CRISIS OF AESTHETIC SCIENCES AND PHENOMENOLOGY OF AESTHETIC REASON
Former program director at the Collège International de Philosophie (2013-2019), Carlos LOBO has been teaching in CPGE since 1998. Associated with the Husserl Archives (ENS) and the Gilles Gaston Granger Center (Aix-Marseille), he is co-founder of the Center for Research in Epistemology, Logical Analysis and Phenomenology, whose journal, Intentio, created in 2019, he directs. His research is part of the perspective of an update of Husserlian transcendental phenomenology, which involves the reconstruction and extension of dialogues and transactions, often implicit but sometimes explicit, of figures of epistemology, philosophy of science, mathematics or logic (Weyl, Hausdorff, Peirce, Bachelard, Rota, Châtelet, Desanti, Thom, Gil, Girard, etc.). He translated H. Weyl, Philosophie des mathématiques et des sciences de la nature, MétisPresses, Geneva, 2018; published with J. Bernard, Weyl and the Problem of Space, From Science to Philosophy, Springer, 2019 and with L. Boi, When Form becomes Substance: Diagrams, Power of Gesture and Phenomenology of Space, Birkhäuser/Springer, 2022. Phenomenology has also fertilized, in parallel modalities, the most innovative investigations of the twentieth century in the field of ethics, value theory, deontics or law, but also aesthetics. Related to this line of research are the publications: “Relativity of Taste without Relativism. An Introduction to Phenomenology of Aesthetic Experience”, Miscellanea, Antropologica & Sociologica, 2018, Volume, 20, Warsaw; “From Epistemological Mannerism to Aesthetic Mannerism. Some proposals and examples for a phenomenological exploration of the artistic play space », La Part de l’œil, Dossier: Exhibition / Space / Frame, No. 33/34, 2020. « The problem of morphogenesis in Thom at the crossroads of transcendental phenomenology and catastrophe theory », News by René Thom, La Part de l’Œil, No. 38, 2024, p. 185-199. This brilliant essay combining art, epistemology and philosophy, the second part of which will be published in a forthcoming issue of Plastir, is summarized as follows by Carlos Lobo: “Husserlian research on art and aesthetics covers the entire field of questioning, a field in full expansion at his time, under the title of iconology, and to analyze its springs or “motivations” more finely. The epistemological conflicts between aesthetic disciplines are, if not arbitrated, at least understood in their sources. Among these conflicts, the one that did not fail to arise in the wake of Riegl between iconology and art history; between philosophy (art theory) and art history, the former resisting the latter and its absorption in the name of an a priori that it tries to deploy. Our objective is not to engage in the comparative study of this hushed conflict that continues between two of Riegl’s legacies, but rather in what way Husserlian phenomenology is likely to arbitrate this new conflict of faculties. The positions at stake become intelligible from the constitutive analyses of the « work of art » as an « aesthetic object » in the « how » of its modes of donation and production, as well as from those, later and more difficult, of aesthetic pleasure as a neutral axiological consciousness. Only in this perspective will we understand the overall historical perspective in which the work of critique of artistic and aesthetic reason is inscribed, in which we can read a rewriting of Kant’s Critique of the Faculty of Judgment.”
A TRANSDISCIPLINARY PERSPECTIVE OF THE PRE-COLOMBIAN ART AND THE ICON OF GUADALUPE : AN ESSAY.
Paulo Nuno MARTINS is a Chemical Engineer with specialization in Biotechnology (Instituto Superior Técnico, University of Lisbon) and a PhD in History and Philosophy of Science (NOVA School of Science and Technology). He studied for 4 years Eastern languages and culture (Chinese, Japanese) and he is currently a researcher in CTEC-UFP, University Fernando Pessoa of Oporto and CIUHCT-FCT, NOVA School of Science and Technology, Lisbon, Portugal (http://orcid.org/0000-0002-2670-3172). He is a member of CIRET (Centre International de Recherches et d´Études Transdisciplinaires), Paris. André LEIRIA has a degree in clinical psychology (Instituto Universitário de Ciências Psicológicas, Sociais e da Vida acronym for Instituto Superior de Psicologia Aplicada) and has a postgraduate studies in Wellness Hospitality Management (IPS – Instituto Politécnco de Setúbal and Escola Superior de Hotelaria e Turismo do Estoril). Has a special interest in the psychology of religion and spirituality. Thus, he is a student of Science of Religions (Universidade Lusófona de Humanidades e Tecnologia de Lisboa), an area he intends to continue to develop through research. He is currently doing his specialization in Transpersonal Psychotherapy at Alma Soma Instituto Transpessoal (https://almasoma.pt/) and Universidade de Coimbra. Paulo Nuno Martins has previously published a paper about art, science and philosophy in Plastir 23, 06/2011. This essay aims to deepen the theme mentioned in another article, where the history of science and art was related over time (Martins, 2011). Thus, we will describe the historical perspective of the pre-Columbian people, highlighting the relevance of the ancestral gods to these cultures, and the way in which the assimilation of the Christian Icon of Guadalupe took place, during the Spanish invasions; On the other hand, we will complement this study through a psychological perspective, referring to the primordial archetypes of the mother goddess present in all cultures, and which can explain how the Aztec people became so quickly devoted to the Icon of Guadalupe. Probably, they saw Her as the ancestral Aztecan mother goddess called by Tonantzin, namely the Indian Juan Diego, to whom the Virgin of Guadalupe appeared in a place where the Basilica of Guadalupe is currently located.
THE ART OF THE OCTOPHONIC PIANO – NEW TECHNOLOGIES AND MUSICAL CREATION
Catherine SCHNEIDER is a pianist, composer, improviser, performer, teacher and researcher. Holder of a master’s degree in educational sciences and a master’s degree in musical composition, she is a graduate of the Curtis Institute of Music in Philadelphia (United States) and of the French conservatories (Nice and Saint-Maur-des-Fossés), and is currently a doctoral student in creation-research at the University of Paris 1 Panthéon-Sorbonne. Also trained in piano and electroacoustic music, her creative approach is at the crossroads of sound arts, musical composition and improvisation. She is particularly interested in the spirit of performance art, phenomenology, reflexive analysis of lived experience, sensoriality, subjective processes and inner states as well as experiential and informal knowledge. She has practiced tai chi chuan and meditation for over thirty years. This article presents her creative-research work with the « octophonic piano », a piano said to be augmented by computer means, which we designed for sound creations and live performances of which we are both composer and performer. A real-time sound processing and spatialization application on eight loudspeakers is controlled during the game and directly from the piano so that instrumental gesture and musical gesture participate in the same creative momentum. This creative musical approach is associated with a reflexive and poetic approach, in particular the awareness of subjective processes and internal states that we mobilize in sound creations for and with the octophonic piano, by paying attention to our own experience and alternating different modes of attention.