Résumé -/- Anna Caterina Dalmasso L’artiste et l’adversité. Hasard et création chez Merleau-Ponty -/- À plusieurs reprises, Merleau-Ponty tisse une correspondance entre art et histoire, entre pratique artistique et action politique : plus précisément il nous invite à former le concept d’histoire sur l’exemple de l’art. À première vue, un tel rapprochement pourrait paraître abstrait, sinon provocateur, l’art étant souvent conçu comme un domaine qui semble avoir peu à faire avec l’espace de l’action. Mais, nous pouvons aujourd’hui comprendre davantage (...) l’intérêt de l’intuition merleau-pontienne, nous, qui faisons l’expérience de la connexion étroite entre l’univers visuel et le milieu politique ou historique, comme des dimensions devenues désormais inséparables. Au fur et à mesure qu’une conception positiviste de l’histoire ou de la politique entendue comme progrès, ou du moins comme projet, échoue sous nos yeux interdits, la question de l’historicité se fait de plus en plus urgente : Merleau-Ponty nous invite à penser l’histoire comme le « lieu de nos interrogations et de nos étonnements », le lieu d’une réponse, voire d’une responsabilité que nos organismes technologiques exigent. C’est à partir de l’expérience de la création artistique et de son rapport constitutif au hasard qu’une pensée de l’historicité peut s’élaborer, là où l’esthétique merleau-pontienne rejoint le mystère d’un sens historique et esquisse implicitement une éthique de la contingence, en ce qu’elle nous appelle à un exercice de la liberté. -/- Abstract -/- Anna Caterina Dalmasso The Artist and the Adversity. Chance and Creation in Merleau-Ponty -/- Throughout his works, Merleau-Ponty has developed the analogy between art and history, between art practice and political action: more precisely he invites us to think about the concept of history on the example of art. At first sight, such an equivalence could seem abstract, if not provocative, insofar as art is still sometimes regarded as a field having little to share with action. But today, experiencing the close connection between the visual and the political environment, we can understand, perhaps better than his contemporaries, what is at stake in Merleau-Ponty’s insight for a new comprehension of history. Whereas a positivist conception of history and politics understood as progress or project seems to be failing before our astonished eyes, the question of historicity becomes more and more urgent: Merleau-Ponty prompts us to think of history as a mysterious junction between facticity and intention, as the beginning of our wonder, as the place of the responsibility that our technological organisms demand. The experience of creation is the figure through which Merleau-Ponty tries to conceive contingency, which is the kernel of the Geneva conference, later called The Man and the Adversity. So, drawing on Merleau-Ponty’s constant reference to the operation of artistic creation, especially on the reference to El Greco, I aim at examining how a new conception of history can spring by a comprehension of the experience of creation. I will argue that, from the analysis of the relationship between the artist and the sensible, between the artist and her body, Merleau-Ponty comes to outline what I would call an ethics of contingency, insofar as it calls us to the exercise of our freedom. (shrink)

The Visible Medium. Opaque Interface and Non-Mimetic Immersivity -/- The relation of reciprocal co-implication that Merleau-Ponty formulates—and on which he insists throughout his work—between sense and the sensible, perception and expression, and then visible and invisible, transforms the way in which one conceives of the medium. Merleau-Ponty’s aesthetics reveals an idea of the medium as a support that erases itself in the act of conveying the signifi cation and also shakes the direct correlation between transparency and mimetic simulation. Understood as (...) the sensible thickness of the body opening onto the world, then as depth and écart that catalyzes vision, the medium, then, furnishes one of the defi nitions of fl esh, as the element of auto-mediation: connective tissue or fabric of communication that is at once écart and internal difference. Merleau-Ponty conceives of the medium as both that which renders and that which is rendered visible. It is therefore no longer an intermediary; it ceases to be an invisible mediator and becomes the opaque element that reveals in fi ligree the movement of gestaltic difference. It is from such a Merleau-Pontian conception of medium that one can begin to elaborate the complex issues posed by mediality in the post-medial age. The idea of a “visible medium” permits us to break with the confl ation of the simulation’s immersive effect and performance, which often informs the rhetoric concerning medias and new technologies, in order rather to think of an “opaque interface” or an “non-mimetic immersivity.” From such a conception of mediality we can equally understand the phenomenon of numerical convergence, not as the accomplishment of the suppression or dematerialization of the medium, as is the case with traditional theories, but as the point of departure for a return to the body as the condition of possibility for every aesthetic experience. (shrink)

Presentación del libro de Nicolás Rosa Relatos críticos. Cosas animales discursos.

Résumé Masolino da Panicale, alors qu’il peint la Vie de saint Jean-Baptiste sur les murs de la chapelle du Cardinal humaniste Branda Castiglione, dans la cité lombarde de Castiglione Olona en 1435, est un des premiers à joindre à la scène du Christ recevant le baptême le motif des néophytes retirant leurs vêtements sur les rives du Jourdain. Le peintre emprunte les attitudes ou les gestes dont il dote les néophytes à l’art antique et byzantin, sa création serait ainsi, en (...) apparence, un art d’imitation. Cependant cette gestuelle issue de la tradition picturale pourrait également être perçue comme l’indice du temps à l’œuvre dans la scène. Il s’agit dès lors d’interpréter ces figures qui mettent en jeu une mémoire et un passé artistiques tout en dévoilant la recherche stylistique propre à l’invention de la Renaissance. (shrink)

Il riquadro dello schermo disegna una separazione, un taglio ontologico e semiotico tra lo spazio reale e la vista che è contenuta in tale apertura. Sebbene tale confine dell’immagine derivi dalla tradizione della rappresentazione pittorica, la superficie dello schermo ne accentua alcuni aspetti costituendosi come una struttura di sconfinamento, che viene dunque a mettere in discussione l’esistenza dei suoi propri limiti interni. A partire da alcuni riferimenti alla nozione di schermo presenti nell’opera di Merleau-Ponty, vorrei descrivere ed interrogare i caratteri (...) specifici del limite che lo schermo es-pone ed im-pone alla superficie. Mi propongo allora di mostrare come la superficie dello schermo, inteso ad un tempo come dispositivo ottico e concettuale, può essere pensata come una figura topologica, come una cavità, un rilievo o una piega, piuttosto che ciò che funge da contorno o cornice della visione. (shrink)

Compte rendu de Guillaume Carron, La désillusion créatrice. Merleau-Ponty et l’expérience du réel -/- La question du réel, se trouvant au cœur de la tradition métaphysique, implique une conception de la rationalité et de son pouvoir définitoire-prédicatif, bref, elle met en jeu notre croyance, voire notre confiance en la raison humaine, car elle confronte la pensée avec le surgissement d’un point insaisissable, à savoir avec les possibilités et les limites du concept. Le réel est donc ce qui oppose une certaine (...) résistance à la conceptualisation. Le questionnement du réel devra alors se nourrir d’une attitude se situant au niveau de l’opacité du sens, « au niveau de la défaillance du concept, au moment où celui-ci révèle sa limite et laisse, à côté de lui, un résidu indéterminé ». C’est précisément une telle méthode, que Guillaume Carron reprend de Merleau-Ponty dans son ouvrage La désillusion créatrice. Merleau-Ponty et l’expérience du réel ; de cette résistance du réel au concept, Carron fait le point de départ de son étude ainsi que le fil rouge de son cheminement à travers la réflexion merleau-pontienne. (shrink)

When I am watching a movie, I perceive on the screen a space, which is united and lived, even if it appears as fragmented and separated from the world in which I live. But is the space of the cinematic frame equivalent or commensurable with the one I see through my own eyes? Are they opposed to each other or do they merge together? The most amazing example of the possible convergence of gaze and frame the film realizes is the (...) phenomenon of vision showing itself in the point-of-view shot. How can I perceive what I see on the screen as the vision of another, and the film itself as someone else’s vision? How does this relationship between the visual field of the film and my own, between my body and the screen, challenge the limits between objective and subjective? Drawing on Merleau-Ponty’s reflections about cinema and visibility, I try to outline the traits of what I would call a reversible point-of-view shot. (shrink)

A partir de los años 90, la expansión del capitalismo y la globalización ubicaron a las fronteras como espacios privilegiados para el intercambio de bienes, servicios y personas. Paralelamente, y en consecuencia, también se convirtieron en el lugar de movimiento de aquellos actos considerados como delitos y de aquellas personas consideradas como criminales. En este marco, aparecerán las llamadas nuevas amenazas a la seguridad, que ya no se circunscriben a una ideología o territorio determinado, sino que tienen múltiples (des)localizaciones. Los (...) nuevos riesgos serán el terrorismo, el narcotráfico, la trata de personas y los migrantes, en sus diversos procesos de movilidad y asociados directamente al terrorismo. En este artículo, propongo entonces analizar los marcos internacionales y regionales para identificar narrativas y actores, internacionales y regionales, involucrados en el proceso de (in)securitización de la migración, a través del cual esta aparece dentro del espectro de las nuevas amenazas, principalmente aquella catalogada como irregular. A partir del análisis de documentos, intentaré hacer un aporte en relación a la construcción del sujeto terrorista en el Cono Sur, identificando cómo la migración se convierte también en un posible vector del riesgo terrorista a través de la figura del asilo y el refugio —migración forzada. (shrink)

In contemporary human and social sciences, it has become almost a commonplace to attribute to objects and artefacts the features of personhood and subjectivity. In the last decades, significant attempts have been made, in different disciplines, to show how things and material realities have the power to act upon the world and to transform human cognition as well as social processes. In order to describe the transformative power of things, scholars have then recurred to the semantic sphere of action and (...) will, to stop seeing agency anthropocentrically as a solely human property, by recognizing to inanimate entities, if not intention and desire, at least the role of social «agents» or «actors». By focusing on the recourse to the notion of «agency», I will single out some of the internal tensions that still inhabit this scientific trend, and, by drawing on the notion of «performativity», introduced by J.L. Austin and developed by Judith Butler, I will suggest a way to develop further the entanglement between material culture and the construction of identity. (shrink)

This paper investigates the reciprocal implications between aesthetics and technics, to show how technicity, as a cultural and symbolic attitude, is constitutively rooted in the aesthetic dimension of human experience. The analysis conducted aims to bring into focus the originarity of technicity in the development of the living body, understood in its inseparable connection with the mind, as junction between the sensible and the symbolic, the organic and the cultural, the perceptive and the expressive. I address this question through a (...) parallel analysis of Simondon’s groundbreaking reflection on technics and the less explored account of technics in Merleau-Ponty’s philosophy. If the latter inscribes our attitude towards technics in the motricity and symbolism inherent to the living body, the former ascribes to aesthetics a form of thinking, thus playing a fundamental role in our relationship to the technical dimension. Despite the differences in their approach to technics, I combine their theoretical perspectives to encompass their internal limits and to outline possible convergences. (shrink)

Una ontología del presente como "actitud epistemológica" para los estudios de pobreza.

Drawing from extensive, eye-opening first-person accounts, No Refuge puts a spotlight on the millions of refugees worldwide who have to leave home but find nowhere to resettle. As political philosopher Serena Parekh argues, this is not just a problem for politicians. Citizens also have a moral duty to help resolve the global refugee crisis and to end the suffering and denial of human rights that refugee are forced to endure, often for years. While the media usually focus on the (...) challenges that Western states have with the arrival of large numbers of asylum seekers and refugees, the real problem is that millions are stuck in inhumane conditions in refugee camps and urban centers, with little chance of finding a more permanent solution. Grounded in powerful testimony from refugees and meticulous research on the conditions in which so many suffer worldwide, No Refuge shows why, as states but also as citizens, we cannot afford to wait any longer to end this crisis. (shrink)

Are inequalities of income created by the free market just? In this book Serena Olsaretti examines two main arguments that justify those inequalities: the first claims that they are just because they are deserved, and the second claims that they are just because they are what free individuals are entitled to. Both these arguments purport to show, in different ways, that giving responsible individuals their due requires that free market inequalities in incomes be allowed. Olsaretti argues, however, that neither (...) argument is successful, and shows that when we examine closely the principle of desert and the notions of liberty and choice invoked by defenders of the free market, it appears that a conception of justice that would accommodate these notions, far from supporting free market inequalities, calls for their elimination. Her book will be of interest to a wide range of readers in political philosophy, political theory and normative economics. (shrink)

Does justice require that individuals get what they deserve? Serena Olsaretti brings together new essays by leading moral and political philosophers examining the relation between desert and justice; they also illuminate the nature of distributive justice, and the relationship between desert and other values, such as equality and responsibility.

This book is a philosophical analysis of the ethical treatment of refugees and stateless people, a group of people who, though extremely important politically, have been greatly under theorized philosophically. The limited philosophical discussion of refugees by philosophers focuses narrowly on the question of whether or not we, as members of Western states, have moral obligations to admit refugees into our countries. This book reframes this debate and shows why it is important to think ethically about people who will never (...) be resettled and who live for prolonged periods outside of all political communities. Parekh shows why philosophers ought to be concerned with ethical norms that will help stateless people mitigate the harms of statelessness even while they remain formally excluded from states. (shrink)

Contemporary egalitarian theories of justice constrain the demands of equality by responsibility, and do not view as unjust inequalities that are traceable to individuals' choices. This paper argues that, in order to make non-arbitrary determinate judgements of responsibility, any theory of justice needs a principle of stakes , that is, an account of what consequences choices should have. The paper also argues that the principles of stakes seemingly presupposed by egalitarians are implausible, and that adopting alternative principles of stakes amounts (...) to fleshing out the demands of responsibility rather than imposing limits on them. (shrink)

Distributive justice has come to the fore in political philosophy: how should we arrange our social and economic institutions so as to distribute benefits and burdens fairly? Thirty-two leading figures from philosophy and political theory present specially written critical assessments of the key issues in this flourishing area of research.

The compensatory desert argument is an argument that purports to justify inequalities in (some) incomes generated by a free labour market. It holds, first, that the principle of compensation is a principle of desert; second, that a distribution justified by a principle of desert is just; and third, that (some) rewards people reap on a free labour market are compensation for costs they incur. It concludes that therefore, a distribution of (some) rewards generated by a free labour market is just. (...) In this chapter I criticise the first two premises of this argument. I argue that the principle of compensation is not a principle of desert (sections 3 and 4), and that a distribution of deserved compensatory payments may be unjust (sections 5 and 6). Before developing my critique of the compensatory desert argument, I start by illustrating further that argument in the version of it which has been defended by Julian Lamont (section 1), and to dispel two objections that have been moved against the view that compensation is a principle of desert. (shrink)

The first issue of Artificial Intelligence and Law journal was published in 1992. This paper offers some commentaries on papers drawn from the Journal’s third decade. They indicate a major shift within Artificial Intelligence, both generally and in AI and Law: away from symbolic techniques to those based on Machine Learning approaches, especially those based on Natural Language texts rather than feature sets. Eight papers are discussed: two concern the management and use of documents available on the World Wide Web, (...) and six apply machine learning techniques to a variety of legal applications. (shrink)

In this paper I argue that we should not frame the debate over whether or not we have duties to help refugees in terms of duties of rescue. This way of framing the issue, where Western states are depicted as rescuing refugees from harms unconnected to them, does not adequately represent the reality experienced by refugees in the 21 st century. I suggest that we need a framework that includes the secondary harms experienced by refugees as they try to seek (...) refuge in camps, urban spaces and via asylum. These secondary harms constitute serious violations of human rights and prevent refugees from accessing the minimum conditions of human dignity. As a result, the rescue metaphor is inappropriate and, perhaps more importantly, prevents us from having a proper debate about the obligations of states in general, and Western states in particular, to refugees. (shrink)