In the vein of a renewed interest in diagrammatic reasoning, this paper challenges an opposition between logic diagrams and formal languages that has traditionally been the common view in philosophy of logic and linguistics. We examine, from a philosophical point of view, what we call five dogmas of logic diagrams. These are as follows: (1) diagrams are non-linguistic; (2) diagrams are visual representations; (3) diagrams are iconic, and not symbolic; (4) diagrams are non-linear; (5) diagrams are heterogenous, and not homogenous. (...) Using historical examples, we argue that none of these dogmas is an adequate criterion to distinguish logic diagrams from formal languages. Instead, we advocate that there is a common core between linguistic and diagrammatic representation and reasoning. (shrink)

Tenue le 6 novembre 2021, à l’Hôtel de Ville de Grenoble, dans le cadre du débat « Validisme, intersectionnalité, lutte pour les droits », cette conférence vise à examiner différents biais sur lequel repose l’invisibilisation des artistes handicapé·e·s. J’y explique notamment comment, pendant longtemps, il m’a été impensable d’être artiste : plus qu’inatteignable, cet horizon m’était inimaginable. C’est l’occasion de revenir sur la production sociale de cet inimaginable, ainsi que sur les moyens mis en œuvre pour déverrouiller mon imaginaire et (...) me sentir peu à peu légitime à me définir comme artiste. (shrink)

Ce compte rendu a déjà paru sur le site de la revue Études. A. Sueur, Vie de Joachim Burmeister, Paris, Rhuthmos, 2019, 103 p. Joachim Burmeister est connu, dans toutes les histoires de la musique, comme celui qui, le premier, a proposé, autour de 1600, une analyse rhétorique des œuvres musicales : celles-ci ne sont plus désormais comprises comme de belles formes reproduisant la splendeur et l'unité des structures du monde, selon la grande approche médiévale, mais comme des discours - (...) Recensions. (shrink)

Les Quatre Saisons de Vivaldi imitent-elles les bruits du monde? Peut-on penser l'histoire de la musique comme une libération progressive de la contrainte imitative, d'un ancrage naturel ou même naturaliste? Beethoven, Berlioz, Schumann, Wagner ou Debussy constituent-ils les étapes qui aboutissent à une musique pure? Le romantisme a fait de la musique le paradigme de l'Art en la concevant comme un langage délivré du poids du sens, un art abstrait » parce qu'autonome. Par la richesse savante des auteurs et des (...) œuvres examinés, par les repères chronologiques et théoriques mis en lumière, l'anthologie proposée ici est une véritable histoire de la pensée sonore et de la pratique musicale du XVIIIe siècle au début du XXe siècle. Le mélomane, le musicologue, comme l'historien ou le philosophe de l'art, pourront évaluer d'un œil neuf les liens de l'imitation et de l'expression, la dispute de l'abstraction et les rapports que les arts entretiennent à la signification. (shrink)

Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the (...) figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon's notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arise out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain stability within a system. In the case of archival films in which transduction occurs without prior intention or expectation, transduction can be foregrounded and prolonged. The connection between transduction and the “trembling meaning” of Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of film matter and its interferences with the figurative content. (shrink)

The Region Connection Calculus (RCC) is a qualitative spatial reasoning formalism, developed in knowledge representation and geographical information systems. We argue that RCC can be viewed as a more fine-grained approach to the use of Euler diagrams to visualize categorical statements like ‘all A are B’. We present RCC using the syntax of first-order modal logic and a topological semantics. We compare the Gergonne relations (a well-known set of 5 jointly exhaustive and pairwise disjoint relations between two non-empty sets, visualized (...) using Euler-type diagrams) with RCC8 (a similar set of 8 relations for regions). (shrink)

Simeon Solomon was a Pre-Raphaelite artist who navigated the modernity of VictorianEngland to create works revolving around explicitly Jewish themes; often creating overtly Jewish images, highly unusual among the generally explicitly Christian movement. This article will deal with how Solomon constructed and dealt with his own identity as a Gay, Jewish man in the modern, and heavily Christian environment of mid-nineteenth century Victorian London. Using contemporary approaches to historicism, observation, and spirituality, his works deal with the complexities of his identity (...) as Jewish and homosexual in a manner where neither was shameful, but rather, sources of inspiration. (shrink)

Victorian scriptural hermeneutics : history, intention, and evolution -- Intertext 1 : Victorian legal interpretation -- Carlyle : between biblical exegesis and romantic hermeneutics -- Intertext 2 : Victorian science and hermeneutics : the interpretation of nature -- George Eliot's hermeneutics of sympathy -- Intertext 3 : Victorian literary criticism -- Subjectivism, intersubjectivity, and intention : Oscar Wilde and literary hermeneutics.

Comment le son est-il relié à l'image? Avec les nouvelles technologies, image, écriture et son apparaissent désormais sur un même support, une nouveauté radicale dans l'histoire humaine. Pourtant, on peut chercher à comprendre comment cet entrelacement est possible: c'est le propos de ce livre. Il suit un fil rouge, la partition musicale. L'écriture de la musique, inventée sous les Carolingiens, ménage une instabilité qui est motrice: d'un côté, elle fait voir le son, par la note de musique, lointain ancêtre de (...) l'image dite abstraite; de l'autre, elle analyse la parole en intégrant en son sein une béance, puisqu'elle sépare les mots et la manière dont il faut les dire. Écriture, son et image sont ainsi d'emblée étroitement mêlés. L'ordinateur autant que l'image dite abstraite en seraient-ils de lointains descendants? (shrink)

1. Bd. Die Relativitätstheorie fällt : physikalische, philosophische, wissenschaftssoziologische und allgemeinverständliche Korrektur : hundert Jahre Kultus des Irrtums sind genug -- 3. Bd. Die Urknalltheorie fällt.

Sharing research data has great potential to benefit science and society. However, data sharing is still not common practice. Since public research funding agencies have a particular impact on research and researchers, the question arises: Are public funding agencies morally obligated to promote data sharing? We argue from a research ethics perspective that public funding agencies have several pro tanto obligations requiring them to promote data sharing. However, there are also pro tanto obligations that speak against promoting data sharing in (...) general as well as with regard to particular instruments of such promotion. We examine and weigh these obligations and conclude that all things considered funders ought to promote the sharing of data. Even the instrument of mandatory data sharing policies can be justified under certain conditions. (shrink)