La trace chantée dans la peinture kija du Kimberley oriental

L’article propose un examen du rapport entre l’image et le chant dans la peinture kija du Kimberley Oriental (nord-ouest australien). Ces tableaux à l’ocre sur bois ou sur toile donnent à voir, sur le mode indiciaire, les traces laissées dans le paysage par des êtres totémiques, des esprits ou des personnages historiques. Ces traces sont chargées d’une triple mémoire mythique, historique et biographique inscrites dans un lieu. C’est en explorant les pratiques rituelles à l’origine de l’iconographie kija que l’article montre comment les chants induisent une mise en mouvement de l’image à la fois dans ces aspects esthétiques et structurels. Le chant agit ainsi comme un index dans un processus mnémonique d’association de lieux et d’événements dans une peinture.The article investigates the links that take place between image and song within kija art traditions from the East Kimberley (north-west Australia). Kija ochre paintings show the tracks of totemic ancestors, spirits, or historical characters as they appear in the landscape. The tracks are charged with a triple memory of place, mythical, historical and biographical. An exploration of the ritual origins of kija iconography reveals the specific way songs generate movement in the aesthetical and structural components of the image. This movement is part of a larger mnemonic process of associating places and events in painting

Temporalités encapsulées dans les peintures aborigènes du musée du quai Branly

À partir d’une réflexion sur l’incorporation de l’histoire coloniale dans les œuvres d’art et les objets rituels aborigènes, l’article examine l’intégration d’une peinture contemporaine de l’artiste kija Paddy Nyunkuny Bedford à l’architecture du musée du quai Branly. Il s’agit de déterminer si la temporalité non-linéaire aborigène qui met plusieurs temps en présence relève d’une forme de capsule temporelle, ou bien si celle-ci n’est qu’une projection européenne reliant des pratiques non-occidentales à un passé mythique. L’œuvre de Bedford semble juxtaposer différents modes d’inscription de l’événement dans le paysage, l’un mythique, l’autre historique, et matérialiser le passage entre les dimensions virtuelles et actuelles de la mémoire.Based on a study of the incorporation of colonial history in Aboriginal art and ritual objects, this article examines the integration of a contemporary work of art by Kija artist Nyunkuny Bedford to the musée du quai Branly-Jacques Chirac’s building. It tries to determine if the nonlinear Aboriginal temporality, by which several timeframes can exist together, may be considered as a time capsule or if the latter is only a European projection on the work, connecting non-Western practices to a mythical past. Bedford’s work seems to juxtapose different modes of inscription of events into landscapes —one mythical, the other historical— and to materialise the movement from the virtual dimensions of memory to its present dimensions

The East Kimberley painting movement: performing colonial history

This paper is based on PhD research undertaken at the EHESS -Paris and the University of Melbourne between 2005 and 2010. My fieldwork was based in the East Kimberley Region of north-west Australia around the community of Turkey Creek, and the towns of Kununurra and Wyndham. I collaborated with a group of contemporary artists named Jirrawun Arts, on the everyday running of the corporation and as archivist and anthropologist. The present paper will be mainly based on artworks by Rover Thomas, ..

Identification of Admittance Coefficients from in-situ Measurements in Acoustic Cavities

International audienceIn recent decades, sound intensity and quality is taking an increasingly important place in the design process of products like cars or aircrafts. Different types of absorbing materials have therefore been developed and used in such products to achieve this purpose. Acoustical calculations are quite heavy and industries generally have to use numerical tools to predict the influence of absorbing materials on the sound propagation inside cavities. In these ones, the acoustical properties of absorbing materials are described by the admittance (or impedance) coefficient, which is a simplification of the physical model. However, the limits of applicability of this model are not well known and the conditions in which its parameters are measured can differ significantly from the ones in which the materials are really used. In this paper, a model updating technique process is used to identify the parameters required to describe admittance coefficients from sound pressure measurements inside a closed cavity. Updating techniques have been used for many years to improve numerical models, and consist in minimizing an error between the numerical solutions and a set of experimental results. The technique based on the Constitutive Relation Error (CRE), initially proposed by Ladevèze [1] for structural dynamics problems, is an indirect method in which the cost function, called the CRE, is based on an energy norm. The main advantages of this method are that the updated parameters keep a physical meaning, that it allows taking into account the measurement error and that it allows locally evaluating the modeling and measurement errors [2]. In this paper the CRE-based updating technique is applied to the acoustical problem ([3], [4]) in order to identify the admittance coefficients and the local estimators are developed. The method is applied on real 2D (Kundt's tube) and 3D (concrete box) experimental data

Efficiently improving the performance of noisy quantum computers

Using near-term quantum computers to achieve a quantum advantage requires efficient strategies to improve the performance of the noisy quantum devices presently available. We develop and experimentally validate two efficient error mitigation protocols named “Noiseless Output Extrapolation” and “Pauli Error Cancellation” that can drastically enhance the performance of quantum circuits composed of noisy cycles of gates. By combining popular mitigation strategies such as probabilistic error cancellation and noise amplification with efficient noise reconstruction methods, our protocols can mitigate a wide range of noise processes that do not satisfy the assumptions underlying existing mitigation protocols, including non-local and gate-dependent processes. We test our protocols on a four-qubit superconducting processor at the Advanced Quantum Testbed. We observe significant improvements in the performance of both structured and random circuits, with up to 86% improvement in variation distance over the unmitigated outputs. Our experiments demonstrate the effectiveness of our protocols, as well as their practicality for current hardware platforms

Le totémisme (australien) est-il une parenté multi-espèces ?

Depuis son émergence à la fin du xixe siècle, la notion de totémisme a accompagné la construction de la discipline anthropologique tout au long de son histoire, réapparaissant de manière sporadique mais régulière dans différente phase de son développement. Suggérant une forme de non différenciation entre nature et culture, ou à l’inverse une conception purement métaphorique des relations aux espèces, les théories successives ont souvent échoué à cerner la spécificité des rapports noués entre humains et non humains à travers les totems. Comment comprendre la nature des collectifs ainsi formés et la conception d’appartenances communes au-delà des barrières d’espèces ? La prise en compte récente des non-humains dans l’anthropologie contemporaine en tant qu’acteurs de relations sociales disposant d’une agentivité, et le développement des humanités environnementales entraînent une curiosité renouvelée sur les relations de parentés animales ou végétales que suppose le totémisme. En se concentrant principalement sur ses composantes australiennes, cet article propose une relecture de l’histoire du concept en posant la question des relations d’attachements et d’appartenances multi-espèces dessinant les contours d’une parenté plus qu’humaine. Emerging at the end of the 19th century, the concept of totemism has accompanied the construction of social anthropology, reappearing sporadically but regularly in different phases of its history. From a non-differentiation between nature and culture, to purely metaphorical associations with animals and plants, successive theories have failed to identify the specificity of the relationships that totems create between humans and non-humans. What type of multispecies collectives emerge through totems; how common belongings are created beyond species barriers? The recent inclusion of non-humans in contemporary anthropology as actors with agencies, and the development of environmental humanities, led to a renewed interest in various animal or plant kinships induced by totemism. Mostly based on theories inspired by Australian ethnographies, this article offers a new reading of the history of totemism, focusing on multispecies attachments and belongings at the edge of a more-than-human kinship

L'art comme forme de résistance dans l'Australie aborigène

The multiple aboriginal artistic movements which developed in Australia throughout the twentieth century have opened up an area of cultural negotiation with a highly political impact. Whether paintings on bark from Arnhem Land or acrylics on canvas, these works accompanied the Land Rights movement at the origin of the first land restitutions in the seventies. The article presents the history of this movement and examines the ritual origin of these contemporary works in more detail : the purlapa paintings on sand expressing the existential relationship between an individual and a place. In post-colonial Australia, the expression of this link to the land represents an act of resistance.Les multiples mouvements artistiques aborigènes qui se sont développés en Australie tout au long du XXème siècle ont ouvert un espace de négociations culturelles à la portée hautement politique. Peintures sur écorces de Terre d'Arnhem ou acryliques sur toiles, ces œuvres ont accompagné le mouvement des Droits à la Terre (Land Rights) à l'origine des premières restitutions foncières dans les années 1970. L'article présente l'historique de ce mouvement et examine plus en détails l'origine rituelle des oeuvres contemporaines : les peintures sur sable purlapa qui fondent la relation existentielle entre un individu et un lieu. Dans l'Australie post-coloniale, l'expression de ce lien à la terre prend la forme d'un acte de résistance.Morvan Arnaud. L'art comme forme de résistance dans l'Australie aborigène. In: Les Cahiers du Musée des Confluences. Revue thématique Sciences et Sociétés du Musée des Confluences, tome 9, 2012. Résistances. pp. 81-91

L'art comme forme de résistance dans l'Australie aborigène

The multiple aboriginal artistic movements which developed in Australia throughout the twentieth century have opened up an area of cultural negotiation with a highly political impact. Whether paintings on bark from Arnhem Land or acrylics on canvas, these works accompanied the Land Rights movement at the origin of the first land restitutions in the seventies. The article presents the history of this movement and examines the ritual origin of these contemporary works in more detail : the purlapa paintings on sand expressing the existential relationship between an individual and a place. In post-colonial Australia, the expression of this link to the land represents an act of resistance.Les multiples mouvements artistiques aborigènes qui se sont développés en Australie tout au long du XXème siècle ont ouvert un espace de négociations culturelles à la portée hautement politique. Peintures sur écorces de Terre d'Arnhem ou acryliques sur toiles, ces œuvres ont accompagné le mouvement des Droits à la Terre (Land Rights) à l'origine des premières restitutions foncières dans les années 1970. L'article présente l'historique de ce mouvement et examine plus en détails l'origine rituelle des oeuvres contemporaines : les peintures sur sable purlapa qui fondent la relation existentielle entre un individu et un lieu. Dans l'Australie post-coloniale, l'expression de ce lien à la terre prend la forme d'un acte de résistance.Morvan Arnaud. L'art comme forme de résistance dans l'Australie aborigène. In: Les Cahiers du Musée des Confluences. Revue thématique Sciences et Sociétés du Musée des Confluences, tome 9, 2012. Résistances. pp. 81-91

Le virus, la chauve-souris et le totem. Ethnographie des relations inter-espèces dans le contexte biosécuritaire australien

This essay investigates the perception of interspecies frontiers, analysing the relations between humans and bats in the context of the Hendra zoonotic disease in north-eastern Australia. The Hendra virus (HeV) is responsible for a highly lethal zoonosis, moving between fruit bats, horses and humans, redefining the relations between these three species. In this configuration bats are designated as reservoirs for emerging infectious diseases. However, they are also a keystone protected species that plays a central role in the ecological balance of Australian forests. Based on the anthropology of zoonoses and interspecies studies, this research describes the perception of the indigenous and non-indigenous groups in close contact with flying-foxes. Distances between humans and animals and the way in which they are perceived have an impact on potential contamination. The human-animal proximity in local indigenous medicine, hunting practices and totemic references, reveals a complex entanglement that challenges several key concepts within the biosecurity paradigm