How does Myriam Chancy create new human and humane narratives about the 2010 Haiti earthquake which challenge the dehumanizing stereotypes of global media reporting? Theorizing ‘ruination’ in relation to this specific Haitian earthquake context, I contrast Chancy’s ‘reckless optimism’ with a tendency of postcolonial melancholy. The article identifies a process of unsilencing the past by building on Michel-Rolph Trouillot’s idea of ‘silencing’ the past in new directions. It explores Chancy’s memory practice through an analysis of her remapping of multilayered/compounded (...) memory sites as palimpsests. I argue that memory sites and ruination are also embodied as human ruins and memory people, expanding on Stuart Hall’s concept of the ‘living’ archive. There is a special focus on Haitian women and girls coming together via healing commemorative practices of rasanblaj and rasanbleman (gathering/reassembling) — Haitian-style, community-grounded rebuilding and survival strategies — in sacred sites with possibilities of regeneration from the dust of the quake. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...) failed-art; and art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation. (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...) I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

There is one question that any potential reader who suspects that Alfred North Whitehead (1861-1947) might be important for past, contemporary, and future philosophy inevitably raises: how should I read Whitehead? How can I make sense of this incredibly dense tissue of imaginative systematizing, spread over decades of work in disciplines so different and specialized as algebra, geometry, logic, relativistic physics and philosophy of science? Accordingly, this monograph has two main complementary objectives. The first one is to propose a set (...) of efficient hermeneutical tools to get the reader started. These straightforward tools provide answers that are highly coherent and probably the most applicable to Whitehead's entire corpus. The second objective is to illustrate how the several parts of Process and Reality are interconnected, something that all commentators have either failed to recognise or only incompletely acknowledged. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Whitehead's Pancreativism: The Basics has provided tools to understand Whitehead secundum Whitehead. We now seek to bring him in dialogue with James. It will be a pragmatic dialogue looking for two types of synergy: to establish the relevance of a Jamesian background to read Whitehead, and to adumbrate how Whitehead can help us understand the stakes of James's works. After one hundred years of scholarship, it appears that James's legacy has mainly been studied from the perspective of his own blend (...) of pragmatism and that this blend has moreover chiefly been put into dialogue with Peirce and analytic philosophy at large. This double interpretational shift has allowed James to keep a fair amount of visibility on the academic scene but, over the years, it has significantly obliterated his vision. It is time to rediscover James from the perspective of his radical empiricism. (shrink)

It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...) entails a radical revision of otherwise ordinary commitments about truth in fiction. (shrink)

Comment repenser la sexualité et le « genre »? Relire la Genèse et le Prologue de l'évangile de Jean à partir de prémisses féministes donne une idée très vive de la chape idéologique et conceptuelle qui a été coulée sur l’inconscient collectif par les monothéismes, finalement assistés par les catégories philosophiques platoniciennes.

Written while the pandemic was still a key issue, this article tries to imagine the post-pandemic from different perspectives, and first of all in distinct temporalities. A question arises immediately: how can we consider the hypothesis of a deep cultural or anthropological mutation with intellectual or scientific tools that were forged before this mutation? What might new approaches for the social sciences look like? The article proceeds to analyse the more obvious social, technological and cultural changes that occurred with the (...) pandemic, which definitively modify our perception and understanding of globalisation. New or renewed inequalities, intergenerational tensions, racism, increasing fake news and conspiracy theory visions of the world, but also issues raised by feminism or ecology are at stake here. (shrink)

This w ork distinguishes bet w een violence used to attain a speci f ic purpose and violence intended or practice for itself. C r uelty is characterised as violence for violenc e' sa k e. Th e aim is to try to f ind an e xplanation for that c r uelty w hich can be described as absolute violence. F or that reason, reference is made to a series of books that h a v e dealt with the (...) subject that, in spite of allusions to other types of cruel t y , end b y speaking of militar y cr uelt y . An attempt to determine the 'functio n ' of c r uelty leads to an understanding of the conditions that ma k e it possi b le: impuni t y , fear and the culture of hate. F inal l y , the human being does not appear to be c r uel per se , but as someone w ho feels compelled to be so b y 'p o w er'. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

It has recently been argued that metal’s ‘heaviness’ is conceptually inarticulable. I argue, on the contrary, that ‘heaviness’ is a matter of inaccessibility—the ‘something more’ that makes metal ‘heavy’ is actually something less: less auditory processing fluency. Like profound literature, metal resists, but also invites and rewards, interpretation. I argue that understanding ‘heaviness’ in terms of auditory processing fluency allows us to make sense of a number of otherwise puzzling features of the music, and to articulate a unifying gestalt for (...) the genre. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

La diversité culturelle et linguistique présente dans la Francophonie offre les conditions pour l'élaboration d'une alternative intéressante à l'uniformisation mondiale. Le dispositif de régulation que représentent les normes ouvertes facilite la mise en place de processus d'accès au savoir en ligne propres à des approches culturelles spécifiques. La Francophonie joue le rôle de vecteur dans le développement culturel et économique local, en proposant les logiciels libres et les normes ouvertes comme faisant partie du bien public régional dans le cadre du (...) développement durable. Les États partenaires devraient participer aux négociations ISO pour promouvoir les normes ouvertes.The cultural and linguistic diversity inherent to Francophony provides the conditions to create an interesting alternative to globalization. Regulation carried out through open standards facilitates the adaptation of knowledge access processes to specific cultural approaches. Francophony plays a leading role in cultural and economic local development by proposing open source software and open standards as part of regional public facilities within the framework of sustainable development. Partner States should participate in ISO negotiations in order to promote open standards. (shrink)

This article analyses the relationship between Benjamin and Marxism, without however failing to recognize that the philosopher's thought has at the same time two sides: one Marxist and another messianic.O presente artigo visa analisar as relações entre Benjamin e o marxismo, sem, entretanto, esquecer que o pensamento do filósofo comporta, ao mesmo tempo, uma vertente marxista e outra messiânica.

Quel individu est capable de mesurer l’étendue de l’informatisation dans son environnement quotidien? Pourtant, celle-ci ne cesse de l’accompagner, d’agir sur son existence, de son domicile à son bureau. Quels bouleversements a-t-elle ainsi provoqués sur les plans culturels mais aussi sociologiques et économiques depuis sa création? Voici quelques pistes de réflexion pour mieux comprendre ses effets, son impact.

Cette étude dégage la critique de James de l’ontologie et de la psychologie de la substance en suivant une double piste : après avoir spécifié le contexte dans lequel se déploie l’argumentation jamesienne, on montre les difficultés qu’affronte la pensée substantialiste et la réponse qu’apporte, parfois implicitement, James. On montre particulièrement la corrélation qui existe entre la pensée du processus et une nouvelle conception de la conscience.

Bilingual Yearbook published by the Chromatiques whiteheadiennes scholarly society since 2005.

À propos des vénérables malentendus philosophiques et de l'inévitable transition culturelle.

Quel est le secret de Pythagore? On pourrait avancer que, par défi nition, s'il y a secret, il est caché et n’est pas dévoilable, ou ne sera pas dévoilé. Le vrai secret est celui dont on ne soupçonne même pas l’existence. On peut toutefois approcher tangentiellement le coeur du pythagorisme à partir d’un idéal qui a traversé les âges.

In 2018, the Art Gallery of Ontario retitled a painting by Emily Carr which contained an offensive word. Controversy ensued, with some arguing that unsanctioned changes to a work’s title infringe upon artists’ moral and free speech rights. Others argued that such a change serves to whitewash legacies of racism and cultural genocide. In this paper, I show that these concerns are unfounded. The first concern is not supported by law or the history of our titling practices; and the second (...) concern misses the mark by ignoring the gallery’s substantial efforts to avoid just such an outcome. Picking up on a suggestion from Loretta Todd, I argue that we can use Aboriginal Title as a model for thinking about the harms perpetuated by cultural appropriation, and the practices we should adopt to mitigate them. (shrink)

Review of Felice C. Frankel's "The visual elements—design: a handbook for communicating science and engineering.".

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...) end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

« Rythmes et Croyances au Moyen-Âge » Journée d'études organisée par Marie Formarier et Jean-Claude Schmitt 23 juin 2012 – Paris Présentation : Cette journée d'études a eu pour objectif de faire dialoguer les diverses disciplines concernées par le rapport entre rythmes et croyances au Moyen-Âge. Elle a accueilli des historiens, des anthropologues, des sociologues, des philologues et des linguistes. Présents dans la langue latine et les langues vernaculaires, dans la rhétorique du sermon, la prière et (...) - Histoire – (...) NOUVELLE JOURNÉE d'ÉTUDES. (shrink)