En 2010, une de mes sœurs vivant en Belgique nous a envoyé un livre rédigé par Günther Anders Hiroshima est partout et introduit par une préface très élogieuse de Jean-Pierre Dupuy. Ancien étudiant de Martin Heidegger et de Edmund Husserl, Günther Anders avait compris, longtemps avant ses contemporains, à quel point les humains s’étaient trompés sur l’impact que les rapports entre les humains et les machines avait eu sur la déshumanisation. Les machines se sont solidement imposées sur les humains.

A leading philosopher presents a radical manifesto for the future of art andfilm.

In this series of dialogues, Derrida discusses and elaborates on some of the central themes of his work, such as the problems of genesis, justice, authorship and death. Combining autobiographical reflection with philosophical enquiry, Derrida illuminates the ideas that have characterized his thought from its beginning to the present day. If there is one feature that links these contributions, it is the theme of singularity - the uniqueness of the individual, the resistance of existence to philosophy, the temporality of the (...) singular and exceptional moment, and the problem of exemplarity. The second half of this book contains an essay by Maurizio Ferraris, in which he explores the questions of indication, time and the inscription of the transcendental in the empirical. A work of outstanding philosophy and scholarship, the essay is developed in close proximity to Derrida and in dialogue with figures such as Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby provides a useful introduction to the philosophy of one of Italy's most prominent philosophers as well as an excellent complement to Derrida's own ideas. A Taste for the Secret consists of material that has never before appeared in English. It will be of interest to second-year undergraduates, graduate students and academics in philosophy, modern languages, literature, literary theory and the humanities generally. (shrink)

Ce texte a déjà paru sur RussEurope le 6 mars 2015. Nous remercions Jacques Sapir de nous avoir autorisé à le reproduire ici. L'analyse des formes économiques qui commencent à se coaguler en Russie depuis 2000 suggère le retour à un modèle de développement où le poids de l'État sera particulièrement important, que ce soit sous des formes directes ou indirectes. Dans le même temps, ces formes économiques ne sont pas sans rappeler celles que l'on trouvait dans le modèle (...) de développement russe des années - Économie et Marxisme. (shrink)

En retraçant la dynamique de la communication à la base de toute expérience, l’anthropobiologie d’A. Gehlen (2021) a montré que l’avorton chronique qu’est l’être humain a dû, pour pouvoir vivre, se fixer au langage en faisant parler le monde. Pourquoi? Pour y retrouver le même bonheur que celui qu’il avait pris à l’écoute de la voix de la mère dans l’écoute intra-utérine, ainsi que l’a découvert Alfred Tomatis (1977 ; 1991). Parce que l’être humain n’est pas un être biologiquement bien (...) formé et est né un an trop tôt comme l’a découvert L. Bolk, corroboré Otto Schindewolf et développé S. J. Gould – si on le compare aux mammifères pourvus d’une complexité semblable – il n’est doté que d’instincts intraspécifiques (nutritionnels, sexuels et défensifs) [...]. (shrink)

C'est au christianisme que remonte l'initiative d'une révolution sans précédent dans la cité antique : la révolution chrétiennc de la souveraineté. «Rendez à César ce qui est à César et à Dieu ce qui est à Dieu.» Le Christ établissait en ces mots une distinction nette entre des ordres jusqu'alors confondus : le spirituel et le temporel, les choses de Dieu et les choses de César. Aujourd'hui, un tel partage paraît aller de soi aux esprits moulés par une civilisation chrétienne. (...) Mais il n'en fut pas toujours ainsi. II fallut que le Christ vînt renverser un vieil état de choses qu'on prenait pour acquis, qu'il s'attaquât ni plus ni moins à la domination absolue que les empereurs romains s'arro-geaient sur la vie civile et religieuse des citoyens. Les souverains ne manquérent pas de le ressentir vivement. Ils relèveront sans tarder le défi en déclenchant les célèbres persécutions contre ses disciples. II s'agissait bien à leurs yeux d'un crime lèse-État. Pouvaient-ils laisser impunément les chrétiens scinder en deux parts une société moniste où le religieux était incorporé au politique, le jus divinum au jus civile. (shrink)

This prize-winning book, first published in France in 1982 and now available in an English translation, investigates the question of human subjectivity.

Maurits Cornelis Escher’s 1938 lithograph, Cycle, illustrates what mathematical physicist Roger Penrose calls ‘impossible objects’. The illusion of three-dimensionality, the innovative use of tessellation, and the incorporation of traditionally figurative elements induce the viewer to perceive the lithographic print as depicting a visually plausible reality built on the deconstructive metamorphosis of man into cube. It is Escher’s ability to paradoxically combine the radical oppositions of man and cube, landscape and geometric abstraction into an apparently harmonious composition where shapes repeat with (...) subtle variation and almost imperceptibly transition into radically different shapes that I want to use as a visual paradigm for conceptualizing the shifts in human consciousness in the digital age. Roger Penrose, path-breaking theorist of consciousness as a physical but non-computational process, was inspired by and inspired Escher. Penrose’s provisional concepts of consciousness, time and space can be visually compared to Escher’s earlier man-cube renderings, where each of these individual design elements allows the transition to another shape. In other words, Penrose’s theories, like Escher’s design concepts, illustrate a moment of transition in consciousness theory. As in Escher’s Cycle, the individual elements are being continually redefined, reshaped and revealed. Each may be a unique distortion of the previous, but this does not mean that it is disconnected or independent of the final outcome. These distortions are transitional elements that lead us visually to the other side of the composition. Radical transformations and developing connectedness in the boundaries between art, technology and science function like the individual elements in Escher’s Cycle. As we try to define the shifts in human consciousness occurring in the digital age, visually speaking, we are focusing on only one element right in the middle of an Escher metamorphosis, unable to see exactly how this element will be part of the completed design. This thought can be both frightening and liberating: frightening because we humans are used to relying on boundaries and predictable outcomes to feel a sense of control, liberating because anything and everything is possible and the changes will occur naturally as part of the transition. If Escher teaches us anything, it is that each piece in the meta-morphosis is needed to complete the big picture. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Derrida is one of the few Continental philosopher-critics as esteemed for his writings about visual topics as for his attention to more textually based subjects. This volume collects key and scarce writings about the making and apprehension of "visual objects," though the chief focus is on drawing, painting, and photography (with sorties into video and film). What preoccupied Derrida when it came to the visual arts is visibility: what does a pencil actually trace-make visible- when someone is making a drawing? (...) What aspect of the drawing documents the artist's thought and what part documents an external object? What comes from painting other than a painting? The writings collected range from essays originally published in small magazines and journals to never-before translated talks and interviews. There are 19 pieces in all, of which seven have been previously published in English.. The rest have been translated into English for the first time. None is included in the Press's already substantial inventory of works by Derrida. The collection comprises three thematic sections: (1) "The Traces of the Visible" is attuned to the field's preoccupation with the "trace," what is an "image," visibility, and space. (2) "Rhetoric of the Line: Painting, Drawing" engages nearly every register in which one can experience art: the materiality of line and text, the eros of aesthetic experience, the politics of color, and the components of painting, writing and drawing taken together. (3) "Spectralities of the Image: Photography, Video, Cinema and Theatre" explores the media we most readily associate with modern and contemporary art practices. (shrink)

Ceci n’a rien d’un texte référencé, documenté par de multiples citations et connaissances littéraires ou mythologiques accumulées : ce n’est que l’expression de relations humaines, pathétiques ou tragiques dérivant au gré du besoin de l’enfant... à tout prix.Fabriquer une vie, transmettre un peu de soi – en duplication de deux unités – dépasse toutes les..