Prendendo le mosse dall’esame del ciclo pianistico Quatre études de rythme, di Olivier Messiaen , scritto fra il 1949 e il 1950, l’articolo delinea un sintetico confronto fra due differenti espressioni dell’arte musicale. Da un lato una composizione della metà del Novecento: repertorio profano, strumentale, frutto di concezioni individuali, testimonianza della fase post-tonale del pensiero musicale. Dall’altro la monodia gregoriana: repertorio sacro, vocale, anonimo, che esprime concetti formali pre-tonali. Occasione di tale raffronto è l’indagine sulla portata concettuale e tecnica (...) di termini chiave come “modo” e “neuma”, che Messiaen mutua dalla teoria musicale medioevale facendone oggetto di riflessione teorica e principio di concezioni tecniche. L’articolo tenta di sondare la complessa trama di rapporti mediante la quale due espressioni artistiche apparentemente agli antipodi entrano in contatto e si illuminano a vicenda. Expanding on the study of the piano cycle Quatre Études de Rythme by Olivier Messiaen , composed in 1949–1950, this article provides a brief comparison between two different expressions of art music. On the one hand we have a composition dating back to the mid-1900s: profane instrumental music, the result of individual conceptions, bearing witness to the post-tonal development in musical thought. On the other, Gregorian monody: sacred vocal music, anonymous, expressing formal pre-tonal concepts. This comparison is developed by looking at the conceptual and technical meaning of key terms, such as “mode” and “neume”, which Messiaen turned from Mediaeval musical theory into subjects for theoretical reflection and a principle of technical conceptions. The article sets out to discuss their complex inter-relationships whereby these two artistic, seemingly opposing, expressions converge and are thus reciprocally enhanced. (shrink)

Anlässlich des Jubiläumsjahres 2008 werden Strukturanalogien zwischen der Musik des französischen Komponisten Olivier Messiaen und der Mystik des Flamen Jan van Ruusbroec anhand des X. Satzes aus den „Vingt Regards sur l'Enfant-Jésus" aufgezeigt, der dem „Blick des Geistes der Freude" gewidmet ist. Wie in Ruusbroecs „Zierde der geistlichen Hochzeit" finden sich in der Musik pneumatologische Bildmetaphern wie die des Tanzes, der Jagd, aber auch Übereinstimmung im Ausdruck der Freude und der Einigkeit des Geistes mit dem Vater und dem Sohn. (...) Über seine charakteristischen Farbklänge ist es Messiaen gelungen, sogar die ruusbroecsche Rede vom Minnebrand des Geistes in der Seele musikalisch umzusetzen und dem Geist der Weisheit und der Wahrheit musikalisch Ausdruck zu verleihen. Auf diese Weise trägt zeitgenössische Musik bei, das Geheimnis des Heiligen Geistes tiefer zu erfassen.On the occasion of the Messiaen jubilee 2008, this article shows analogue structures between the Music of the French composer Olivier Messiaen and the mysticism of the Flemish theologian Jan van Ruusbroec . My examination is based on the X. movement of Messiaen's "Vingt Regards sur l'Enfant-Jésus", which is dedicated to the "Vision of the Spirit of Joy". Like Ruusbroec's "Adornment of the Spiritual Marriage", the music of Messiaen contains pneumatological metaphors like the dance and the hunt, but is also accords with Ruusbroec's work in expressing the joy and unity of the Holy Spirit with the Father and the Son. Through his characteristic sound-colours, Messiaen even succeeds in musically expressing what Ruusbroec describes as the Spirit's "firebrand of love" within the soul and in giving the Spirit of wisdom and truth a musical form. This demonstrates how contemporaneous music can contribute to a deeper understanding of the mystery of the Holy Spirit. (shrink)

SummaryMusic intended to evoke awe-inspiring fear in the presence of transcendence may be found throughout the work of Olivier Messiaen (1908–1992). The emotion's genealogy extends back through Hebrew and Christian scriptures (‘Fear of the Lord’), the Romantic period (‘sublime’), and the early twentieth century (the creature feeling response to the ‘numinous’ and ‘wholly other’). Messiaen's understanding of this emotion particularly derived from distinctions made by the French Catholic spiritual writer Ernest Hello (1828–1885). Hello distinguished between simple fear (la peur) (...) that makes us cower and the fear of ‘awe’ or ‘wonder’ (la crainte) that opens up possibilities of adoration and self-transcendence. This essay surveys several instances of Messiaen's evocations of fear in works dating from the 1940s through the 1970s. It then concludes with a brief consideration of Apparition of the Eternal Church (2008), a documentary film that records auditors’ reactions as they listen through headphones to Messiaen's crushing organ work (c. 1931/2) with the same title. A concluding question is posed to recent research in the ‘history of emotions’. If listeners do not share communal emotional categories of transcendence, to what extent can they experience Messiaen's intended ‘awe’ (la crainte) as something more than mere ‘fear’ (la peur)? (shrink)

This article explores an anomaly of modern music. Music has remained more obviously aligned with religious sensibility, practice and belief than other modern art-forms or cultural tendencies. To understand this phenomenon fully, it is not sufficient to see musical composition, performance and reflection as simply expressive of wider cultural and philosophical tendencies, nor as contributing to them in its own idiom. Instead, one must see musical composition and theory as itself, at least in the modern era, a prime mode of (...) philosophical reflection which possesses resources which allow it both to take to an extreme, and yet to criticize fundamental intellectual tendencies of our time. This criticism tends to take the form of a religious transcendence of the secular, despite the fact that it is in no way shielded from the most avant-garde influences. This is exhibited, I shall argue, in the Catholicism of Olivier Messiaen and his legacy, since Messiaen was arguably the central composer of the previous century and the one who has perhaps most directly influenced philosophical understanding. (shrink)

PRELIMINAR Y STA TEMENT BY IA NNIS XENA KIS Subtended Philosophy* The worlds of classical, contemporary, pop, folk, traditional, avant-garde, etc., ...

The connection between static and dynamic forces in society became, once again, a topic for debate at the sociological congress held in Amsterdam in 1955. The reason for this renewed interest is not far to seek. Dynamic phenomena of great intensity force themselves on the observer of the contemporary scene. Within the Soviet sphere of influence, the structure of society is undergoing radical changes. At the same time, the Orient and all those areas said, not without reason, to be “developing,” (...) are in the throes of modernization. And finally, even in countries ruled by liberalism and marked by stable institutions, the inner structure of such fundamental social concepts as “individual,” “family,” “stratification,” “organization” and “government” is rapidly being transformed. On the other hand, there are many countries in which society appears to be gravitating towards a static condition, characterized by Veblen more than fifty years ago, as a “new feudalism.” When all areas beyond the present-day borders of capitalism will have been industrialized, capitalism will no longer be able to rely on new resources elsewhere, and its economic expansion, which was once thought to be demanded by the very nature of the system, will have come to an end. Capitalism will then have to revert to simply reproducing itself. This prospect is reflected in our present-day culture. Thus, Olivier Messiaen, a composer of the group known as “La Jeune France,” said only recently, that the historical development of music had reached a ceiling beyond which no further development could be imagined; whether he was right or not, is not the point. What should be of most interest in a discussion of the conflict between static and dynamic forces, is the question which of these will prove to be the stronger; whether the trend of development prevailing since the Middle Ages will continue, or whether it will terminate in a state of paralysis of the kind that Himmler prophesied when he said that the Third Reich would last for ten or twenty thousand years, until the “end of modern times.” But before we can speculate about the outcome of the conflict between the static and dynamic, we must reflect on the ideas connected with them; otherwise it would be like trying to settle the course of world history by idly tossing a coin. (shrink)

The ambition in what follows is to begin a consideration of the lessons that might be learnt from a reassessment of twentieth-century avant-gardist practice within the domain of musical composition. The goal here will not be an evaluation of the compositional outputs of this period but, rather, some reflections on the place and role of teaching within and among the musicians themselves, remembering that many of them gained a considerable reputation as teachers: Arnold Schoenberg, Olivier Messiaen, Karlheinz Stockhausen, and (...) John Cage being the pre-eminent examples.And, as an aside, before too quickly assuming that the radical newness and futurism associated with much avant-gardism is somehow at odds with our... (shrink)

Si vous n'aimez pas les chiens, si la peine de vie vous semble aussi discutable que la peine de mort, si vous ne vous esclaffez pas quand on rajoute des moustaches à la Joconde, si vous souhaitez la béatification de Monica Lewinsky, si l'art post-moderne vous paraît nullisime, si vous considérez que, pour faire partie d'une commission d'éthique, il faut être un salaud, si vous n'êtes pas un inconditionnel de Marcel Duchamp, de Marguerite Duras, de René Char, de Georges Brassens (...) ou d'Olivier Messiaen, si vous tenez l'horoscope pour une niaiserie, l'homéopathie pour une charlatanerie, le patriotisme pour une infamie et les supporters sportifs pour des Untermensch, alors vous êtes atypique et vous vous exposez à quantité d'embêtements. mais vous trouverez peut-être une consolation dans ce livre. Si, au contraire, vous êtes politiquement correct, vous y trouverez prétexte à fourbir vos armes. Et dans l'hypothèse improbable où vous ne seriez ni correct ni abject, il vous aidera à rejoindre la réalité. (shrink)

In this essay I explore the encounter between religion and music via ideas taken from Olivier Messiaen. I first present his categorization of music and the concepts of sound-colour and dazzlement as the 'directional meaning' of music. I then show how Messiaen relates this to the phenomena of natural resonance and afterimages, and based on this, I present-via Goethe and Rudolf Steiner-the notion of an etheric, evanescent or incorporeal matter. This understanding and experience of matter is then brought to (...) bear on music. In this context the notion of a 'religious experience' can be understood as both referring to content and sentiment related to a religious belief, and, in a more general sense of 'religare' (to bind), as a deeper bond with the material-temporal flow of nature. This gives way to a Johannine vision of Messiaen's musical thinking where the creative-sounding Logos or 'word' is both spirit and matter, and where music may represent a potential awakening to this reality. (shrink)

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it develops transcendental (...) empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces. (shrink)

This fully revised new edition re-establishes Paul Griffiths's survey as the definitive study of music since the Second World War. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reforming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's (...) pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant expansion of musical thinking since 1945 has left us with no single history of music. Paul Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. In addition to the composers mentioned above, others whose music is discussed include Steve Reich, Jean Barraque, Elliott Carter, Olivier Messiaen, Gyorgy Kurtag, Harrison Birtwistle, and Gyorgy Ligeti. Publication and recording details are given for the works of all these composers and many others. (shrink)

This paper describes and defends the “virtues of ingenuity”: detachment, lucidity, thoroughness. Philosophers traditionally praise these virtues for their role in the practice of using reasoning to solve problems and gather information. Yet, reasoning has other, no less important uses. Conviction is one of them. A recent revival of rhetoric and argumentative approaches to reasoning (in psychology, philosophy and science studies) has highlighted the virtues of persuasiveness and cast a new light on some of its apparent vices—bad faith, deluded confidence, (...) confirmation and myside biases. Those traits, it is often argued, will no longer look so detrimental once we grasp their proper function: arguing in order to persuade, rather than thinking in order to solve problems. Some of these biases may even have a positive impact on intellectual life. Seen in this light, the virtues of ingenuity may well seem redundant. Defending them, I argue that the vices of conviction are not innocuous. If generalized, they would destabilize argumentative practices. Argumentation is a common good that is threatened when every arguer pursues conviction at the expense of ingenuity. Bad faith, myside biases and delusions of all sorts are neither called for nor explained by argumentative practices. To avoid a collapse of argumentation, mere civil virtues (respect, humility or honesty) do not suffice: we need virtues that specifically attach to the practice of making conscious inferences. (shrink)

This paper defends hedonic intentionalism, the view that all pleasures, including bodily pleasures, are directed towards objects distinct from themselves. Brentano is the leading proponent of this view. My goal here is to disentangle his significant proposals from the more disputable ones so as to arrive at a hopefully promising version of hedonic intentionalism. I mainly focus on bodily pleasures, which constitute the main troublemakers for hedonic intentionalism. Section 1 introduces the problem raised by bodily pleasures for hedonic intentionalism and (...) some of the main reactions to it. Sections 2 and 3 rebut two main approaches equating bodily pleasures with non- intentional episodes. More precisely, section 2 argues that bodily pleasures cannot be purely non-intentional self-conscious feelings, by relying on Brentano’s objection to Hamilton’s theory of pleasure. Section 3 argues that bodily pleasures cannot be non-intentional sensory qualities by relying on Brentano’s objections to Stumpf’s theory of pleasure. Section 4 develops a brentanian view of the intentionality of bodily pleasures by claiming bodily pleasures are directed at a sui generis class of sensory qualities. Section 5 presents an objection to Brentano’s later theory of pleasure according to which all sensory pleasures are directed at sensing acts. (shrink)

Sa célébrité à l'étranger, considérable, masque mal l'obstination française à l'ignorer, à la dénigrer ou à la récuser sans la lire vraiment. Il est vrai que des controverses, des polémiques, des malentendus ont brouillé sa réception. Surprenant, rétif à toute assignation disciplinaire, difficile donc à classer, à l'interstice entre philosophie et sociologie, Baudrillard déroute autant qu'il séduit. Sa liberté de pensée ébranle nos savoirs et nos croyances. L'objet de ce livre est donc moins de constituer une somme d'hommages posthumes que (...) de questionner une oeuvre qui, au-delà des célébrations ponctuelles, connaît un accueil à la fois fasciné et circonspect. Entretiens, études, lettres, essais l'affrontent et s'y confrontent, tantôt avec gratitude et reconnaissance, tantôt avec réticence ou résistance, parfois avec hostilité. Les textes rassemblés émanent d'universitaires, d'intellectuels, d'écrivains qui interrogent sans complaisance une oeuvre essentielle qui n'a eu de cesse d'interpeller le présent. La diversité des auteurs sollicités (Sophie Calle, Michel Deguy, Philippe Dagen, Bernard Edelman, Nathalie Heinich, Michel Maffesoli, Philippe Petit, Anna Sauvagnargues, Bernard Stiegler, Jean-Baptiste Thoret...) était essentielle. Les analyses et les propos tenus par les uns et les autres dialoguent librement avec cette pensée exigeante, féconde, souvent déroutante. Toujours en mouvement, Baudrillard voulait "promouvoir un commerce clandestin des idées, de toutes les idées irrecevables, des idées imprenables". Ce livre répond à cette exigence radicale. (shrink)

ABSTRACTIn four studies, we examined the moderating impact of Interoceptive Accuracy and Interoceptive Sensibility (IS, ass...

Thèse de doctorat sur les querelles littéraires en France pendant les vingt ans qui ont suivi la publication du Prospectus de l'Encyclopédie, sur la place des échanges de pamphlets dans ces querelles sur des thèmes politiques et religieux, sur les modes de publication et le style de ces pamphlets, mais aussi sur le rôle et l'influence de Voltaire dans ces échanges.

" Que reste-t-il de l'Etat? ". " Pas grand-chose " serait-on tenté de dire, tant on ne cesse de répéter que l'Etat est " en crise " et qu'il est entré dans un " processus de désintégration ". Certes, il existe d'évidents mouvements d'émiettement des compétences autrefois concentrées au niveau de l'Etat central. Elles sont redistribuées au profit, d'un côté, d'organisations mondiales ou européennes, supra- et inter-étatiques, de l'autre, d'entités publiques subétatiques comme, en Belgique, les Communautés et Les Régions. Certes, (...) on assiste aussi à des mouvements tangibles de retrait de l'Etat dans la gestion collective de pans importants d'activités sociales, que ce soit au profit du " marché ", de la " science " ou de la " société civile ". Mais mesure-t-on bien l'ampleur et la nature de ces processus et est-on sûr qu'ils ne sont pas compensés par d'autres qui iraient dans le sens d'un redéploiement de l'Etat? C'est à l'analyse de ces différents mouvements de repli, de redéploiement et de continuation de l'action de l'Etat dans la société actuelle qu'est consacré le présent ouvrage. Au départ de la question : " Où en est l'Etat aujourd'hui? ", cet ouvrage collectif, issu d'un congrès de politologues qui s'est tenu à l'Université Libre de Bruxelles en 2002, traite de l'avenir du mode institutionnel par lequel les êtres humains ont entendu assurer, pendant des siècles en Occident, la production de cadres communs à leur existence individuelle et collective. (shrink)

La théorie nietzschéenne du génie, dans la mesure où elle réhabilite positivement la contrainte et la convention dans la création artistique, permet de dépasser la mystérieuse théorie romantique d'inspiration naturaliste. Sur quoi repose cette théorie esthétique nietzschéenne ? Sur l'assimilation de la langue de l'artiste à une convention efficiente, c'est-à-dire lui permettant de communiquer activement avec un public, et donc d'être compris. La véritable convention est celle qui naît du besoin, et qui, – intégrée dans un travail de soi sur (...) soi commandé par la contrainte, le sérieux et la discipline, – se transforme en une nouvelle habitude, et devient une seconde nature, sous l'effet de la répétition acharnée. Elle s'oppose au laisser-aller, et rend possible la constitution d'une véritable culture dépassant l'opposition de la convention et de la nature. Elle définit selon l'auteur le style de l'esprit libre, soit l'artiste capable « de danser dans les chaînes », c'est-à-dire de jouer avec la convention. La véritable liberté artistique ne consiste donc pas à s'affranchir de la tradition, mais à la maîtriser et à jouer avec elle. La théorie de la création artistique élaborée par Nietzsche fournit ainsi le paradigme d'une libération de l'esprit. (shrink)

This paper aims to investigate the intersections between Hegel’s aesthetics lec- tures and translation theory and praxis, with reference to the French-Italian translation project Hegel Art Net. Against the background of the historical recon- struction that sees Hegel repeatedly confronted with the fruition and production of translations, we intend to examine the hermeneutic, philological and political challenges that a translator of the aesthetics Nachschriften encounters today, following the “philological turn” of the 1990s and the publication of new sources documenting Hegel’s (...) Berlin lectures on the philosophy of art. (shrink)

_Les philosophes face au vice, de Socrate à Augustin_ explore la manière dont les philosophes de l’Antiquité ont tracé une cartographie des vices, analysé leurs causes et leurs effets, et se sont interrogés sur leurs usages. _Les philosophes face au vice, de Socrate à Augustin_ explores how ancient philosophers described the vices, delineated their various kinds, accounted for their causes and effects, and reflected on how to use them.

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

I defend the view that the experience of resistance gives us a direct phenomenal access to the mind-independence of perceptual objects. In the first part, I address a humean objection against the very possibility of experiencing existential mind-independence. The possibility of an experience of mind-independence being secured, I argue in the second part that the experience of resistance is the only kind of experience by which we directly access existential mind-independence.

This paper is devoted to the proof of the following upward categoricity theorem: Let K be a tame abstract elementary class with amalgamation, arbitrarily large models, and countable Löwenheim-Skolem number. If K is categorical in ‮א‬₁ then K is categorical in every uncountable cardinal. More generally, we prove that if K is categorical in a successor cardinal λ⁺ then K is categorical everywhere above λ⁺.

This paper argues (i) that the possibility of experiencing at once pleasures and unpleasures does not threaten the contrariety of pleasure and unpleasure. (ii) That the hedonic balance calculated by adding all pleasures and displeasures of a subject at a time yields an abstract result that does not correspond to any new psychological reality. There are no resultant feelings. (iii) That there are nevertheless, in some cases, sentimental fusions: when the co-occurent pleasures and unpleasures do not have any bodily location, (...) and that their intentional object vanishes, they truly fuse with each other, giving rise to sentimental mixtures in which the initial pleasures and unpleasures are no longer discernible. (shrink)

Recently there has been a strong movement towards reflections about the “geography of reason,” especially among philosophers who deal with postcolonial thinking. There is also a renewed interest among different schools of thought, both analytical and continental, in the ways our “life world,” or “embodiment,” or “situated cognition,” shape our minds and eventually the philosophy we do. As a result, we have seen some recent publications on the nature and import of the concept of “place” by authors such as Edward (...) Casey, Jeff Malpas, and Bruce Janz. In Philosophy in an African place, Bruce Janz introduces the concept of “philosophy-in-place” with the question as to what it is to do philosophy in a particular context of lived experience or, more specifically, what it is to do philosophy in an African place. This paper expands on Janz's “philosophy-in-place” by developing what will be called a “philosophy through place.” It starts with Janz's discussion of the problem of placing philosophy and a philosophy-in-place. Then it attempts to develop an argument for a “philosophy through place” and its implications for considering the place of philosophy in Africa and the challenge it poses to philosophy. (shrink)

The aim of this paper is to give a critical discussion of Sartre’s concept of sexual desire and its relation to self-identity and freedom. Why Sartre? Sartre is one of very few philosophers who offers a systematic account of sexual desire. He has influenced eminent philosophical concepts of sexual desire held by, for instance, de Beauvoir, Lacan, Foucault, Levinas, Irigaray and Butler, but not much is written about his own notion of sexual desire. This alone is reason to explore Sartre’s (...) view. What makes his view of sexual desire particularly interesting is that it is framed by his theory of freedom. Sartre offers the original, radical notion that freedom is absolute. Because consciousness is never self-identical, he argues, human identity is not fixed. Instead, we are consequently nothing else but what we keep desiring to make of ourselves. He concludes that we are always free to choose our drives and desires, even what seem to be our most enslaving, natural sexual instincts. The question raised in this article, however, concerns what the nature of sexual desire is and how free we really are to choose our sexual desires. I first contextualise Sartre’s view of sexual desire within his notion of desire in general and its relation to instinct, drive, consciousness, freedom and identity. Then, I give a detailed discussion of his analysis of sexual desire, its relation to freedom, and, what Sartre calls its failures. Finally, I discuss a critique of, and alternative to, Sartre’s theory of sexual desire from the perspective of my own notion of heteronomous and autonomous desire and freedom. (shrink)

I present and defend Reinach's theory of ownership according to which, prior to the positive law, one finds a distinction between possession, ownership and property rights. Ownership is not a bundle of positive rights, but a primitive natural relation that grounds the absolute right to behave as one wishes towards the thing one owns. In reply to some objections raised against it, I argue that Reinach's theory of property is morally and politically non-committal; and that it in fact has the (...) ressources for dealing with the vexing issue of the origin of ownership. (shrink)

Philosophe majeur de notre epoque, Henri Maldiney a elabore une phenomenologie de l'existence centree sur l'Ouvert. Preconisant un - retour aux choses memes -, il refute radicalement la separation instauree entre sujet et objet, insistant sur l'experience de la rencontre comme signifiance insignifiable, transpossibilite et transpassibilite, recueil et deploiement. a partir notamment de Binswanger, Straus, Freud, Szondi, Heidegger et plus largement des textes classiques grecs, allemands, chinois, accordant une importance toute particuliere a l'art, il a contribue de maniere decisive a (...) une philosophie du sentir, du rythme et de l'avenement. Lors du colloque de Cerisy, qui a reuni chercheurs, praticiens et artistes, chacun s'est mis a l'epreuve de cette oeuvre magistrale. Les contributions rassemblees ici manifestent l'evolution et l'impact de cette pensee fondamentale pour le XXIe siecle.". (shrink)

The fact that there exist in nature thoroughly deterministic systems whose future behavior cannot be predicted, no matter how advanced or fined-tune our cognitive and technical abilities turn out to be, has been well established over the last decades or so, essentially in the light of two different theoretical frameworks, namely chaos theory and (some deterministic interpretation of) quantum mechanics. The prime objective of this paper is to show that there actually exists an alternative strategy to ground the divorce between (...) determinism and predictability, a way that is older than—and conceptually independent from—chaos theory and quantum mechanics, and which has not received much attention in the recent philosophical literature about determinism. This forgotten strategy—embedded in the doctrine called “emergent evolutionism”—is nonetheless far from being a mere historical curiosity that should only draw the attention of philosophers out of their concern for comprehensiveness. It has been indeed recently revived in the works of respected scientists. (shrink)

Comment interpréter le regain d'intérêt pour les réflexions sur la transcendance, la quête de sens, la morale et l'éthique dans nos sociétés contemporaines? C'est ce sur quoi Lawrence Olivier et Yves Boisvert se sont penchés dans cet ouvrage ; le premier accuse les théoriciens de la postmodernité d'être de grands fabulateurs qui font la promotion de la reconfiguration des systèmes moraux, tandis que le second reproche aux nihilistes d'être de grands nostalgiques de la Vérité qui ont sombré dans un (...) fatalisme total et un individualisme radical face à l'échec du projet de la modernité. Leur désaccord portant principalement sur l'interprétation à donner à ce retour des grands questionnements sur les valeurs et le sens de la vie, l'hypothèse de base est que les individus ont besoin de croire à une certaine forme de transcendance et qu'ils ressentent un profond besoin de donner un sens à leur vie. Invités à se prononcer sur cette question, anthropologues, philosophes, politicologues, sociologues et théologiens livrent ici leurs propres analyses de cette problématique par un riche panorama des réflexions sur la sexualité, la mort, la mode, l'art, les jeunes de la rue, les activités extrêmes, la religion et la pop psycho. Sans épuiser la problématique de la transcendance contemporaine, cet ouvrage stimulera la curiosité de tous les lecteurs intéressés aux nouvelles valeurs culturelles ou aux nouveaux comportements sociétaux. (shrink)

Our thesis is that proprioception is not a sixth sense distinct from the sense of touch, but a part of that tactile (or haptic) sense. The tactile sense is defined as the sense whose direct intentional objects are macroscopic mechanical properties. We first argue (against D. Armstrong, 1962; B. O'Shaughnessy 1989, 1995, 1998 and M. Martin, 1992, 1993,1995) that the two following claims are incompatible : (i) proprioception is a sense distinct from touch; (ii) touch is a bipolar modality, that (...) intrinsically has both a subjective-bodily pole and objective pole. We then argue that the bipolarity of touch should be preferred over the introduction of a sui generis sense of the body. We try to revive Aristotle suggestion according to which the body is the tactile medium (like the air for sight). Since this medium is constantly changing its shape, we need some specific channel of information about its state : proprioception, functionally defined, is that part of touch which informs us about the state of this changing tactile medium. Though muscular and articular receptors are usually dedicated to inform us about the mechanical properties of the tactile media, and the skin receptors about the mechanical properties of the tactile objects, this is not essentially so. In weighting or wielding experiments we access the weight of external objects even when skin sensitivity is absent; in prosthetic touch, the skin receptors play the role usually assigned to muscle and articular receptors, namely to inform us about the mechanical state of the tactile medium. So proprioception, anatomically defined, can play both the role of informing us about the tactile medium, or about the tactile objects. That other sensory modalities also rely on proprioceptive information should be understood in terms of cross-modal dependencies: of sight, hearing, smell, taste...on touch. (shrink)

La question du nihilisme a une longue histoire. Elle émerge au sein de l'idéalisme allemand, se déploie ensuite dans l'intelligentsia et la littérature russes, puis trouve chez Nietzsche et Heidegger ses explorations les plus influentes. Si le mot semble moins courant depuis un demi-siècle -- comme d'autres termes aussi chargés, pensons à celui d'aliénation -- les enjeux qu'il soulève demeurent toutefois au cœur de la pensée contemporaine. Les risques environnementaux nourrissent d'ailleurs plus que jamais l'inquiétante intuition que de puissantes dynamiques (...) de dévalorisation du réel sont à l'œuvre dans les sociétés modernes. Ces douze essais, qui font largement entendre la voix d'une nouvelle génération, n'ont pourtant pas pour but de défendre une thèse commune. Ils explorent plutôt les multiples aspects du nihilisme et se confrontent à ses grandes interprétations. Sont ainsi proposées autant de pistes pour rejoindre les débats sur le capitalisme, la technique, l'éducation, le patriarcat, le roman ou la démocratie. Pluralité revendiquée, qui illustre néanmoins un même ancrage dans les défis du monde actuel. (shrink)

The thesis defended is that ordinary perception does not present us with the existential independence of its objects from itself. The phenomenology of ordinary perception is mute with respect to the subject-object distinction. I call this view "phenomenal neutral monism" : though neutral monists are wrong about the metaphysics of perception (in every perceptual episode, there is a distinction between the perceptual act and its perceptual objet), they are right about its phenomenology. I first argue that this view is not (...) as counter-intuitive as it might initially seem, by stressing (i) that the lack of presentation of the mind-independence of perceptual objects does not entail their being presented as mind-dependent. (ii) That phenomenal neutral monism is true of ordinary perception in the thin sense, but not in the thick sense (that includes expectations, guesses, feelings etc. grounded on thin perception). (iii) That the concept of a perceptual perspective or point of view should not be confused with the concept of the subject or intentional act of perception. Second, I propose three positive arguments in favor of phenomenal neutral monism. (i) It does justice to the recurring idea that only resistance to our will presents us with the world qua independent from us. (ii) It does justice to the recurring idea that the most natural attitude towards the perceptual world is that of being absorbed in it. (iii) It is entailed by the view that intentional acts are phenomenally transparent (a view held by Russell and Moore, and most contemporary representationalists) together with the view that in order to be presented with a relation (here the act-object distinction) one has to be presented with its relata. (shrink)

Urban agriculture is an important source of food and income throughout Africa. The majority of cultivators on the continent are women who use urban agriculture to provide for their family. Much research on urban agriculture in Africa focuses on the material benefits of urban agriculture for women, but a smaller body of literature considers its social and psychological empowering effects. The present study seeks to contribute to this debate by looking at the ways in which urban agriculture empowers women on (...) the Cape Flats, a region of Cape Town where urban agriculture is supported by nongovernmental organisations. Based on interviews with cultivators, the findings show that NGO-run urban agriculture projects not only aid food security, but also help women to develop supportive networks that unlock benefits across the personal, social and economic spectrum. (shrink)