Théodule Ribot est l’un des premiers à penser les rapports entre mémoire et émotions. Au sein de ce qu’il appelle la « mémoire affective », il décèle une mémoire spécifique des émotions. Il s’ensuit un débat sur l’existence, la définition et le contenu de cette mémoire. Après les propositions initiales de Ribot, on observe l’émergence progressive d’un consensus : même s’il est possible de distinguer la mémoire affective de la mémoire intellectuelle, tout souvenir présente à des degrés variables des éléments (...) intellectuels et des éléments affectifs. Si, dans le cadre académique, ces débats sont tombés dans l’oubli, on peut établir une continuité conceptuelle avec la recherche scientifique actuelle, qui gagnerait à relire cette littérature centenaire. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from floor (...) to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)

A argumentação desenvolvida no presente artigo se propõe a defender a interpretação austera do construtivismo em Kant das objeções a ela levantadas por Jeremy Schwartz (2017) em seu artigo _Was Kant a ‘Kantian Constructivist’?_. Tendo isso em vista, primeiramente, procede-se à reconstrução da interpretação de Schwartz para a distinção analítico-sintética na esfera prática a partir da caracterização por contradição e à indicação de objeções para sua aceitação. Na sequência, apresenta-se a caracterização de analiticidade por continência e como esta pode ser (...) transposta para o caso dos imperativos sem resultar em conflitos com a interpretação austera do construtivismo. Por fim, delineiam-se considerações quanto à formalidade dos princípios constitutivos da razão prática e seu escopo, chegando à conclusão de que não se pode estabelecer uma identidade entre construtivismo austero e logicismo prático. (shrink)

Analgesia and amnesia represent two complimentary pillars of anesthesia directed, respectively, at mitigating the experience of pain and the processes of encoding that experience into memory. These elements are typically combined in modern anesthetic techniques, but some circumstances exist – such as conscious sedation – in which the conditions of amnesia are satisfied while analgesia plays an auxiliary and often incomplete role. These activities reflect a widely held yet underrecognized belief in clinical practice that although pain experiences may be short-lived, (...) their representation in memory and its subsequent effects on thought and emotion can have enduring consequences for patients. In this exploratory article, we delineate phenomenal and abstract ontological categories of pain experience; advance a claim that they are treated by analgesic and amnestic agents, respectively; and describe how each class of experience is uniquely able to bring about individual harm. Beginning with the question of how it can be permissible to allow any preventable experiences or memories of pain, we identify that both phenomenal and abstract pain manifest on a spectrum of severity, each with an enigmatic threshold – unique to circumstance and individual – that determines whether or not pain will translate into harm, and what permissions therefore surround its treatment. Ultimately, we find that there are compelling physiological reasons for the concurrent use of analgesics and amnestics when pain experience exceeds these thresholds, while the treatment of “sub-threshold” experience in either class is a purely ethical imperative to be balanced with considerations of the potential harms posed by the treatments themselves. (shrink)

Impacts of the economic development to the socio cultural changes in Vietnam.

The notion of epistemic responsibility applied to memory has been in general examined in the framework of the responsibilities that a collective holds for past injustices, but it has never been the object of an analysis of its own. In this article, I propose to isolate and explore it in detail. For this purpose, I start by conceptualizing the epistemic responsibility applied to individual memories. I conclude that an epistemic responsible individual rememberer is a vigilant agent who knows when to (...) engage in different kinds of mental and non-mental actions in order to monitor and update her memories, and who develops and nurture different kinds of virtuous attitudes that guide those actions. These (epistemic) virtuous attitudes are oriented not only towards herself but also towards others. Whereas this conception of epistemic responsibility does not pose a problem to understand shared memories of family members and friends, it may seem suspicious when applied to large-scale collective memories. These memories, which I name historical memories, are memories of events that have a traumatic impact for the community, are permeated by unequal relations of power, keep a complex relationship with historical science, and present other characteristics that distinguish them from individual memories. But despite these differences, the analysis undertaken in this work shows that the general principles that govern the epistemic responsibility of individual and (large-scale) collective rememberers are similar, and are based on similar grounds: pragmatic considerations about the consequences of misremembering or forgetting and a feeling of care. The similarities at the individual and collective scale of the epistemic vigilant attitude that is and should be taken toward our significant past may partially justify the use of the same epithet—“memory”—to refer to these different kinds of representations. (shrink)

Nadie sabe lo que quiere la Justicia porque la justicia no se deja escribir. Cuando digo escribir, digo instituir. La Justicia no se deja instituir. Con ello debe lidiar la actividad judicial, con el límite mismo, con la propia imposibilidad. Límite que exhibe oculto que hay algo allí que no hace cuerpo. Que hay algo que el orden de lo simbólico no logra apresar. Legendre decía: en occidente, instituir es escribir. Instituir a los hombres es ante todo, escribirlos, inscribirlos, ¿marcar (...) sus cuerpos? Kafka lo sabía bien. La democracia enfrenta también un desafío similar: asumir que el signo de lo ilimitado la acompaña en el regazo mismo que la dialéctica de la modernidad le ofrece. Los escritores, señala Milner, han descripto lo ilimitado para condenar sus consecuencias y sustraerse a ellas, como el caso de Rousseau, o para constatarlas y combatirlas mediante estrategias de inversión, de Baudelaire a Brecht.Arrasar con la diferencia es no soportar el límite, aquello que hace borde, aquello que no se deja decir. En otras palabras no aceptar la falta en el lenguaje. El presente trabajo pretende mostrar que es, precisamente, el punto de cruce que constituye el límite mismo, el lugar que aloja un encuentro posible entre justicia y democratización. El límite, lejos de clausurar, posibilita aquel enlace, lo augura. Es a nivel del lenguaje que esta relación requiere ser situada. Democratizar la lengua supone horizontalizarla, en otras palabras, abogar por la apertura y circulación del sentido. Son las teorías críticas del derecho las que aportan las herramientas necesarias para pensar esta articulación. Como señala Cárcova, es en el campo del sentido en donde el derecho adquiere su especificidad y produce los efectos que le son propios. Profundizar la democracia desde el campo jurídico exige, ante todo, democratizar al derecho mismo. (shrink)

A formal sequent system dealing with Menelaus' configurations is introduced in this paper. The axiomatic sequents of the system stem from 2-cycles of Δ-complexes. The Euclidean and projective interpretations of the sequents are defined and a soundness result is proved. This system is decidable and its provable sequents deliver incidence results. A cyclic operad structure tied to this system is presented by generators and relations.

At the beginning of 2020, COVID-19 became a global problem. Despite all the efforts to emphasize the relevance of preventive measures, not everyone adhered to them. Thus, learning more about the characteristics determining attitudinal and behavioral responses to the pandemic is crucial to improving future interventions. In this study, we applied machine learning on the multi-national data collected by the International Collaboration on the Social and Moral Psychology of COVID-19 (N = 51,404) to test the predictive efficacy of constructs from (...) social, moral, cognitive, and personality psychology, as well as socio-demographic factors, in the attitudinal and behavioral responses to the pandemic. The results point to several valuable insights. Internalized moral identity provided the most consistent predictive contribution—individuals perceiving moral traits as central to their self-concept reported higher adherence to preventive measures. Similar was found for morality as cooperation, symbolized moral identity, self-control, open-mindedness, collective narcissism, while the inverse relationship was evident for the endorsement of conspiracy theories. However, we also found a non-negligible variability in the explained variance and predictive contributions with respect to macro-level factors such as the pandemic stage or cultural region. Overall, the results underscore the importance of morality-related and contextual factors in understanding adherence to public health recommendations during the pandemic. (shrink)

How is ownership established over non-owned things? We suggest that people may view ownership as a kind of credit given to agents responsible for making possession of a non-owned object possible. On this view, judgments about the establishment of ownership depend on attributions of responsibility. We report three experiments showing that people’s judgments about the establishment of ownership are influenced by an agent’s intent and control in bringing about an outcome, factors that also affect attributions of responsibility. These findings demonstrate (...) that people do not just consider who was first to possess an object in judging who owns it, and are broadly consistent with the view that ownership is acquired through labor. The findings also suggest that rather than exclusively being the product of social conventions, judgments about the establishment of ownership over non-owned things also depend on the psychological processes underlying the attribution of responsibility. (shrink)

Citation: Christodoulou, Marina. “Philosophical An(n)ales: Laideur Abject Dégoût...comme une allergie à l’Autre (féminin),” (trans. Bertrand Naivin) in Sur la laideur. [Actes du symposium On Ugliness, organizé par Lars Aagaard- Mogensen au Wassard Elea (Ascea, Italie) en juin 2016], edited by d Bertrand Naivin and Lars Aagaard-Mogensen (Paris: Editions Complicités, 20178, 97-109. ISSN: 9782351201435 -/- -------------------- -/- Laideur Abject Dégoût ... comme une allergie à l’Autre (féminin) Sur l’art et l’esthétique sexués. -/- Pourquoi le dégoût est-il (ou peut-il être considéré) (...) comme sexiste (phallocratique et misogyne): Une allergie à l’Autre. (shrink)

Citation:Christodoulou, Marina. “Technopolis as the Technologised Kingdom of God. Fun as Technology, Technology as Religion in the 21st Century. God sive Fun.” Cahiers d'études germaniques N° 74, 2018. La religion au XXIe siècle - Perpectives et enjeux de la discussion autour d'une société post-séculière. Études reunites par Sébastian Hüsch et Max Marcuzzi, 119-132. -/- -------- -/- Neil Postman starts his book Technopoly: The Surrender of Culture to Technology (1993)1 with a quote from Paul Goodman’s New Reformation: “Whether or not (...) it draws on new scientific research, technology is a branch of moral philosophy, not of science.” (Postman 1993: motto; Goodman 2010: 40). I would extend Postman’s Technopoly to Technopolis, to give it more of a presence in time and space. Hence, I will use the term Technopoly when I am referring to Postman; the term Technopolis is my own. -/- In his book From Faith to Fun: The Secularisation of Humour, Russel Heddendorf argues that humour is a technology (Heddendorf 2009: 32-34), as it is understood and theorized by Neil Postman in Technopoly. Russel Heddendorf also argues that “Technopoly” is a term correlated with Wittgenstein’s use of the term “worldview” (Weltanschauung) (Heddendorf 2009: 11). -/- I would like to draw on these thoughts to propose that Technopoly (or Technopolis) could be the secularized Kingdom of God, namely that Technology is the Religion of the 21st century, and that Fun is a paradigm of such a Technology / Technique. God is yet another technique or Technology of and in Technopoly. -/- The godless individual in the 21st century, I will argue, is as much a believer as the faithful in the Sacred Religion (term used in opposition to Secular or rather Technological or Technologized Religion, which is Fun). He believes in Fun (as a post-modern form of pleasure), as much as the believer believes, or more accurately, believed in God. In the 21st century, the faithful in Sacred Religion believes in a fun God, as opposed to the serious God of the past. Fun is turning into the Technologized Religion for all; for the faithful in Godly / Sacred Religion, as well for as the unfaithful. Fun (pleasure, humour) is the definitive qualia of 21st century pleasure. The mechanics of Fun make it absolutely functional for controlling people; as Aldous Huxley wrote in Brave New World, people “are controlled by inflicting pleasure” (cited in Heddendorf 2009: 158). Now, indulging in pleasure is having Fun. In the 21st century, nobody is unfaithful, nobody disputes God, because God has been manufactured into Fun. We are living in the most religious century of all. -/- The commodity of God, now inextricably blended into work and leisure ethics and culture, is as unavoidable as survival. You don’t work, you don’t survive, you don’t exist. You work, you are entitled to leisure, or free time – the time (“busy-time”) when you are busy is work. The free time of leisure (“fun-time”) is a time for fun (pleasure). The time dedicated to Fun is culturally (capitalistically) pre-defined; no moment is actually free, each moment that is sold as free is to be bought with Work Time tokens –which is money. Believe is Enjoy. Happiness, achieved through pleasure, and pleasure through Fun, and Life as Play, is the recipe for Teleology in the 21st century. -/- The Technological God (Fun), as the Sacred God before him, is sovereignty’s technique or a social “mode of release”: demonstrations, marches, petitions, freedom of speech, citizen and human rights vindications, are “modes of release”, so that the next day, feeling relieved and released that you are working for a better life and a better world, you can wake up cheerfully to walk to your workplace, feeling it will change because of your marching, or your petition, or your speech, or the mass you attended, or the prayer you said yesterday. Thus life continues unchanging, through postponing hope; the tension of the tragedy is always released (lysis) in catharsis: refreshment for the next day of work. Art, especially cinema, (namely, simulated life) follows the same cathartic principles as real life. Thus, you can keep coping, and hoping in the meantime is of much help. Religion, Art, Science, Therapy, and Technology are all technologies used to market life, sell it or lend it, and humans are buying it back. Fun is free to produce, and expensive to buy. (shrink)

Le dossier hagiographique de saint Aréthas et de ses compagnons (24 octobre) comprend, du côté des sources grecques, plusieurs œuvres en prose: l'ancienne Passion prémétaphrastique BHG 166, qui date du VIe s., et qui est la pièce essentielle, la Métaphrase BHG 167, par Syméon Logothète à la fin du Xe s., ainsi que d'autres métaphrases plus anciennes ou plus tardives. Mais il contient aussi un kontakion resté inédit que nous présentons ici. On a souvent insisté sur l'intérêt que présentent les (...) kontakia hagiographiques pour le dossier d'un saint. Le poème que nous éditons ici est l'illustration de ce principe. Il est, en effet, intéressant tant pour son ancienneté et sa qualité narrative que pour son témoignage sur le culte des reliques de saint Aréthas. (shrink)

Individuals with trypophobia have an aversion towards clusters of roughly circular shapes, such as those on a sponge or the bubbles on a cup of coffee. It is unclear why the condition exists, given the harmless nature of typical eliciting stimuli. We suggest that aversion to clusters is an evolutionarily prepared response towards a class of stimuli that resemble cues to the presence of parasites and infectious disease. Trypophobia may be an exaggerated and overgeneralised version of this normally adaptive response. (...) Consistent with this explanation, individuals with trypophobia, as well as comparison individuals, reported aversion towards disease-relevant cluster stimuli, but only the trypophobic group reported aversion towards objectively harmless cluster stimuli that had no relevance to disease. For both groups the level of aversion reported was predicted uniquely by a measure of disgust sensitivity. Scaled emotion ratings and open-ended responses revealed that the aversive response was predominantly based on the disease avoidance emotion, disgust. Many open-ended responses also described skin sensations. These findings support the proposal that individuals with trypophobia primarily perceive cluster stimuli as cues to ectoparasites and skin-transmitted pathogens. (shrink)

La révision du matériel mis au jour lors des fouilles de P. Orlandini dans le sanctuaire extra-urbain de Bitalemi à Géla dans les années 1960 conduit à s’interroger sur les pratiques rituelles accomplies en ce lieu et sur la fonction de la céramique qu’on y a trouvée. L’attention se porte sur un certain nombre de cratères, dont la fonction principale est le mélange de vin et d’eau. Mettant en doute la consommation de vin durant les Thesmopho­ries célébrées dans le sanctuaire, (...) on s’interroge sur la nature du breuvage le mieux adapté à des fidèles rassemblées en l’honneur de Déméter et qui pourrait avoir été préparé dans les cratères. Puisque les abeilles et le miel jouent un rôle central en relation avec les eugeneis gynaikes (les épouses légitimes et les mères qui participent à la fête), l’article fait l’hypothèse que, durant cette fête, les cratères ont pu être utilisés pour le mélange de l’hydromel, une boisson de tradition ancienne, composée d’eau et de miel, et au pouvoir enivrant. (shrink)

Les Cyniques grecs ne nous ont pas l gu de savants trait s. Leur philosophie, plut t pragmatique, s'exprimait par l'observance d'une vie asc tique franchement marginale. Le lecteur d couvrira dans ces fragments qui leur sont attribu s, dans ces t moignages de contemporains, pr sent s ici dans leur version fran aise, l'univers et l'id al des Cyniques. Le texte de cette nouvelle dition a t enti rement revu par l'auteur. Les recherches effectu es depuis la premi re (...) publication (1975) ont permis de compl ter plusieurs sections et d'y inclure des fragments nouveaux et des traductions r centes. Une bibliographie enti rement r vis e et deux nouveaux index viennent compl ter l'ouvrage. (shrink)

Th e basi c pu r pos e o f thi s w or k consist s o f eliminatin g som e o f th e m yth s an d paradigms tha t cu r rent ly info r m th e assessmen t o f scienti f i c e vidence . I n orde r t o accomplis h this object i v e , th e autho r sta r t s fro m th e (...) premis e tha t thes e m yth s an d paradigms , produce d with th e d ev elopmen t o f forensi c science , ar e minimizin g th e rol e o f judge s i n judicia l proceedings fo r th e bene f i t o f e xpe r ts . Thi s ca n lea d t o a violatio n o f du e proces s an d n e glectin g that judicia l processe s ar e aime d a t resolvin g conflicts . Th e autho r refer s speci f ical l y t o th e m yth o f in f allibilit y an d th e pa r adig m o f identi f ication , accordin g t o w hic h scienti f i c e vidence ca n posit i v e ly identif y a n ind i vidua l o r objec t throug h p h ysica l traces . B y ana l yzin g the recen t doctrin e o n th e assessmen t o f scienti f i c e vidence , th e autho r conclude s o n th e need t o adop t th e pa r adig m o f likelihood . Thus , th e judg e stil l hold s th e rol e i n th e ev aluation o f e vidence , an d guarantee s tha t th e goal s o f th e proces s wil l b e respected. (shrink)

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 109 Heft: 1 Seiten: 41-72.

The article analyzes the phenomenon of national self-determination in terms of evolution and functioning. The authors aim to determine the general characteristics and evolution of this phenomenon in both conceptual and applied versions. In the evolution’s context of national self-determination as a theoretical concept and a political and legal principle, several stages were identified and considered. According to the authors, each stage of the phenomenon’s evolution was inevitably accompanied by its qualitative transformations, both in political and legal terms. The first (...) stage (from the end of the XVIII c. till the First World War), according to the authors, is characterized by the emergence of the idea and the formation of the socio-political concept of national self-determination, and the applied aspect of the phenomenon of national self-determination is filled with concrete content based on the ever-expanding political practice of its application. The second stage (from the First World War and the post-war reconstruction) is characterized by the transformation of self-determination from a concept into a political principle. The authors associate the third stage of the evolution of the phenomenon of national self-determination (the period after the Second World War) with the development of international relations and the formation of a global bipolar system. National self-determination turned into a principle of positive international law and laid the foundations for the future political instability of the newly independent states. Finally, the last period (the early 90s to this day) is characterized by the search and crystallization of new approaches to the principle of national self-determination and the emergence of new theories, the authors of which are trying from a political and legal point of view to substantiate the legitimacy of an expansive interpretation of this principle. The analysis allowed us to conclude that the qualitative transformations of the principle of national self-determination presented in the article did not lead to the formation of the phenomenon of national self-determination as an integral, complete, and universally recognized international political and legal norm. (shrink)

La investigación analiza el ingreso del Jefe de Gobierno de Ciudad Autónoma de Buenos Aires a TikTok durante la pandemia. Esta red social representa una novedad para la política, lo que la convierte no solo en un territorio a explorar sino y, fundamentalmente, en un nuevo espacio a conquistar. Desde el punto de vista conceptual, la investigación recupera, por un lado, las discusiones teóricas de la sociología política vinculada a la estructura de oportunidades y, por otro, los desarrollos de la (...) teoría de la comunicación que buscan echar luz sobre el fenómeno del infoentretenimiento. El trabajo se configura como un estudio de caso. Como esta metodología posibilita la utilización de distintas técnicas de recolección de datos y análisis, se ha optado por la triangulación de datos primarios y secundarios. Se utilizaron dos técnicas de recolección de datos: encuesta con cuestionario estructurado, a través del formato IVR, y recolección manual de información del perfil en TikTok. Dentro de los principales hallazgos, se destaca, por un lado, que los usos que les dieron los habitantes del Área Metropolitana de Buenos Aires a las redes sociales durante el contexto pandémico y las opiniones políticas de los usuarios de TikTok fueron los factores determinantes que le permitieron al Jefe de Gobierno porteño ingresar muy cómodo a la plataforma; y, por otro, que en todas las publicaciones de su cuenta se excluye el contenido formal y serio y se lo reemplaza por formatos cercanos a la informalidad, la simplicidad, la emocionalidad y el humor. (shrink)

Cette contribution analyse les déclinaisons du thème iconographique de la parabole des dix vierges dans des estampes produites entre les xvie et xviie siècles aux Pays-Bas. Issues d’un processus culturel complexe de production et réception, ces artefacts culturels constituent un exemple significatif de la mise en œuvre d’un discours moralisateur de nature confessionnelle au service de la transformation du système de valeurs d’une population urbaine caractérisée par des changements significatifs dans les structures économiques et sociales de la modernité, dans lesquelles (...) les hommes et les femmes ne cessent de négocier leurs relations et leurs rôles sociaux. L’opposition symbolique entre l’image positive des femmes qui travaillent et celle négative des femmes qui dansent qui émerge de l’analyse, permet d’éclairer la complexité de l’articulation entre les représentations sociales de la danse et du genre que cette opposition implique et produit. (shrink)

Negli ultimi anni le ricerche sulla civiltà rupestre del Mezzogiorno medioevale, in seguito agli studi innovativi di Cosimo Damiano Fonseca, hanno condotto alla rivisitazione, attraverso approcci nuovi e con l'ausilio di strumenti sofisticati, di questo fenomeno nelle sue varie sfaccettature. Se, a partire soprattutto dalla fine dell'800, gli studiosi avevano rivolto i loro interessi in specie alle cappelle rupestri e alla loro decorazione pittorica, ovvero all'aspetto, in apparenza il più eclatante, dell'abitato rupestre, di recente l'attenzione si è focalizzata intorno allo (...) studio del paesaggio rupestre stesso e ai suoi valori, inteso come modello insediativo non certamente alternativo, né inferiore, a quello urbano, bensì come elemento specifico all'interno della complessa realtà dell'insediamento umano delle regioni meridionali e della Sicilia tra Tarda Antichità e Medioevo. (shrink)

Selon Léonard de Vinci, le peintre doit « se mettre à la place de l’esprit même de la nature », entendue comme genèse perpétuelle, force vitale et métamorphique. Dans sa démesure, un tel projet fascine autant qu’il terrifie. Pour répondre à ce défi, Léonard renouvelle profondément l’art de la peinture jusqu’à en faire, en théorie comme en pratique, un exercice sans cesse recommencé. Les notes et préceptes du Traité de peinture comme les techniques qu’il invente (ou réinvente) en témoignent – (...) chiaroscuro, sfumato, perspective aérienne, componimento inculto [esquisse informe ou sauvage], etc. À la jonction de la main et de l’esprit, l’exercice de peindre sollicite une ascèse perceptive et imaginative, à travers le jugement, le regard (« jugement de l’œil », giudizio dell’occhio), porté sur le monde et ses formes mouvantes. Ascèse, au sens fort d’un désapprentissage permettant de détisser les rets de l’habitude et les tropismes subjectifs. Cet exercice opère non seulement le crayon à la main, par le déploiement de l’esquisse et la fécondité du repentir [pentimento], mais, dans un plus grand dénuement encore, en regardant « des murs souillés de beaucoup de taches », « avec l’idée d’imaginer quelque scène » – « incitation à la rêverie éveillée » comme l’appelle André Chastel. Dès lors l’exercice de peindre (ou la peinture comme exercice) prend chez Léonard une tournure très étonnante et singulière : tout en privilégiant la dimension processuelle de l’œuvre, il s’agit de faire, pour ainsi dire, de la peinture sans pigment ni pinceau. Autrement dit, la prétention cosmique du peintre n’a d’égale que son aptitude au dénuement. (shrink)

Selon Léonard de Vinci, le peintre doit « se mettre à la place de l’esprit même de la nature », entendue comme genèse perpétuelle, force vitale et métamorphique. Dans sa démesure, un tel projet fascine autant qu’il terrifie. Pour répondre à ce défi, Léonard renouvelle profondément l’art de la peinture jusqu’à en faire, en théorie comme en pratique, un exercice sans cesse recommencé. Les notes et préceptes du Traité de peinture comme les techniques qu’il invente en témoignent – chiaroscuro, sfumato, (...) perspective aérienne, componimento inculto [esquisse informe ou sauvage], etc. À la jonction de la main et de l’esprit, l’exercice de peindre sollicite une ascèse perceptive et imaginative, à travers le jugement, le regard, porté sur le monde et ses formes mouvantes. Ascèse, au sens fort d’un désapprentissage permettant de détisser les rets de l’habitude et les tropismes subjectifs. Cet exercice opère non seulement le crayon à la main, par le déploiement de l’esquisse et la fécondité du repentir [pentimento], mais, dans un plus grand dénuement encore, en regardant « des murs souillés de beaucoup de taches », « avec l’idée d’imaginer quelque scène » – « incitation à la rêverie éveillée » comme l’appelle André Chastel. Dès lors l’exercice de peindre prend chez Léonard une tournure très étonnante et singulière : tout en privilégiant la dimension processuelle de l’œuvre, il s’agit de faire, pour ainsi dire, de la peinture sans pigment ni pinceau. Autrement dit, la prétention cosmique du peintre n’a d’égale que son aptitude au dénuement. (shrink)