Analyse Sociocritique de « La Neutralite Documentaire » de l’oeuvre photographique de Bernd et Hilla Becher

The photographic work of Bernd and Hilla Becher is always considered as being strictly informative, applying a rigorous so-called scientific procedure in its very morphogenesis. Associated to the Dusseldorf School of Photography, this conceptual work is seen as a new attempt (leaving ideology aside) to be artistically emancipated from photography as the former rests on iconic signs characterized as neutral semiotic spaces. Now this neutrality becomes questionable in so far as it constitutes a mode of transcription of the iconic structures of the Bechers’ work in homology to the disenchantment (M. Weber) that is reactivated by the emergence of socio-historical structures of Le nouvel esprit du capitalisme (‘the New spirit of capitalism”), as it is describes in the eponymous book by Luc Boltanski and Eve Chiapello. In the same way, it is still doubtful whether their work, by transcribing the techno-scientific cultural unconscious unwittingly infiltrated in photography’s morphogenesis, is considered as belonging to some objectivistic neutrality, in so far as this unconscious reinforces an aesthetic indifference, through a process of aesthetic, cultural and symbolic desensitization. Thus, the concepts of disenchant- ment as well as of aesthetic indifference shake the notion of neutrality established by the prevailing contemporary art criticism. That is why this article examines the significant structures of emancipation or ‘liberation’ from any reference to real life, of semantic indifference and of a depersonalized vision of the world, asSiempre se presenta la obra fotográfica de Bernd e Hilla Becher como estrictamente informativa por aplicar en su morfogénesis un protocolo riguroso llamado científico. Relacionada con la “Escuela de la fotografía de Düs- seldorf ”, esta obra conceptual es considerada como tentativa (fuera de ideología) de una nueva emancipación artística de la fotografía porque estriba en signos icónicos considerados como espacios semióticos de neutralidad. Sin embargo, esta neutralidad se revela contestable siempre que constituye una modalidad de transcripción de las estructuras icónicas de la obra de los Becher en homología con el desencanto (M. Weber) que reactiva la emergencia de estructuras socio- históricas del [El] nuevo espíritu del capitalismo, descrito en la obra epónima de Luc Boltanski y Eve Chiapello. Al igual que es todavía dudoso que la obra, al transcribir el inconsciente cultural tecno-científico filtrado no conscientemente en la morfogénesis de la fotografía, se considere como entrando dentro de una neutralidad objetivista, siempre que refuerza una indiferencia estética por un proceso de de-sensibilización estética, cultural y simbólica. Así, los conceptos de desencanto como el de indiferencia estética socavan la noción de neutralidad elaborada por la crítica de arte contemporáneo predominante. Es por lo que se examinan en este artículo las estructuras significativas de emancipación o de “lib- eración” de cualquier referencia a lo vivido, de indiferencia semántica y de visión del mundo despersonalizada, como potencialmente capaces de inferir en el sujeto, al constituir homologías estructurales entre este tipo de fotografía documental artística contemporánea y el Todo (Cros: 2016). El Todo, aquí entendido como el mundo social a punto de ser dominado por un capitalismo liberal globalizado.L’œuvre photographique de Bernd et Hilla Becher est toujours présentée comme étant strictement informative du fait qu’elle a appliqué un rigoureux protocole dit scientifique lors de sa morphogenèse. Associée à “L’Ecole de la photographie de Düsseldorf ”, cette œuvre conceptuelle est considérée comme une tentative (hors idéologie) d’une nouvelle émancipation artistique de la photographie parce qu’elle repose sur des signes iconiques qualifiés d’espaces sémiotiques de neutralité. Or, cette neutralité devient contestable dès lors qu’elle constitue une modalité de transcription des structures iconiques de l’œuvre des Becher en homologie avec le désenchantement (M. Weber) que réactive l’émergence de structures sociohistoriques du [Le] nouvel esprit du capitalisme, décrit dans l’ouvrage éponyme de Luc Boltanski et Eve Chiapello. Tout comme est encore douteux que l’œuvre, en transcrivant l’inconscient culturel technoscientifique infiltré non consciemment dans la morphogénèse de la photographie, soit considéré comme relevant d’une neutralité objectiviste, dès lors qu’il renforce une indifférence esthétique par un processus de dé-sensibilisation esthétique, culturelle et symbolique. Ainsi, les concepts de désenchantement comme celui de l’indifférence esthétique ébranlent la notion de neutralité établie par la critique d’art contemporain prédominante. C’est la raison pour laquelle sont examinées dans cet article les structures significa- tives d’émancipation ou de “libération” de toute référence au vécu, d’indifférence sémantique et de vision du monde dépersonnalisée, comme étant susceptibles d’interagir sur le sujet, en constituant des homologies structurales entre ce type de photographie documentaire artistique contemporaine et le Tout (Cros: 2016). Le Tout, étant ici compris comme le monde social en passe d’être dominé par un capitalisme libéral globalisé

L’Incal, une fiction métaphorique

Cet article a pour but de mettre en lumière les procédés visuels et narratifs par lesquels Alejandro Jodorowsky plonge le lecteur de L’Incal dans un univers fictionnel caricatural qui le renvoie à son propre monde, en mettant au jour les rapports de domination, d’aliénation et de contrôle. L’analyse d’une des planches de la série sous les auspices des concepts de « désublimation répressive » (Herbert Marcuse) et de « société du spectacle » (Guy Debord) établira les liens existants entre fiction et réalité pour dévoiler un monde déshumanisé et asservissant.The purpose of this article is to highlight the visual and narrative processes by which Alejandro Jodorowsky plunges the reader of The Incal into a fictional caricatural universe that sends him back to his own world, exposing the relationships of domination, alienation and control. The analysis of one of the series' plates under the auspices of the concepts of “repressive desublimation” (Herbert Marcuse) and “spectacle society” (Guy Debord) will establish the existing links between fiction and reality to reveal a dehumanized and enslaving world

Modified detrended fluctuation analysis based on empirical mode decomposition

Detrended fluctuation analysis (DFA) is a simple but very efficient method for investigating the power-law long-term correlations of non-stationary time series, in which a detrending step is necessary to obtain the local fluctuations at different timescales. We propose to determine the local trends through empirical mode decomposition (EMD) and perform the detrending operation by removing the EMD-based local trends, which gives an EMD-based DFA method. Similarly, we also propose a modified multifractal DFA algorithm, called an EMD-based MFDFA. The performance of the EMD-based DFA and MFDFA methods is assessed with extensive numerical experiments based on fractional Brownian motion and multiplicative cascading process. We find that the EMD-based DFA method performs better than the classic DFA method in the determination of the Hurst index when the time series is strongly anticorrelated and the EMD-based MFDFA method outperforms the traditional MFDFA method when the moment order $q$ of the detrended fluctuations is positive. We apply the EMD-based MFDFA to the one-minute data of Shanghai Stock Exchange Composite index, and the presence of multifractality is confirmed.Comment: 6 RevTex pages including 5 eps figure

Structure and rheological properties of model microemulsion networks filled with nanoparticles

Model microemulsion networks of oil droplets stabilized by non ionic surfactant and telechelic polymer C18-PEO(10k)-C18 have been studied for two droplet-to-polymer size ratios. The rheological properties of the networks have been measured as a function of network connectivity and can be described in terms of simple percolation laws. The network structure has been characterised by Small Angle Neutron Scattering. A Reverse Monte Carlo approach is used to demonstrate the interplay of attraction and repulsion induced by the copolymer. These model networks are then used as matrix for the incorporation of silica nanoparticles (R=10nm), individual dispersion being checked by scattering. A strong impact on the rheological properties is found for silica volume fractions up to 9%

Effects of Sulfonylureas on Peroxisome Proliferator-Activated Receptor γ Activity and on Glucose Uptake by Thiazolidinediones

BackgroundSulfonylurea primarily stimulates insulin secretion by binding to its receptor on the pancreatic β-cells. Recent studies have suggested that sulfonylureas induce insulin sensitivity through peroxisome proliferator-activated receptor γ (PPARγ), one of the nuclear receptors. In this study, we investigated the effects of sulfonylurea on PPARγ transcriptional activity and on the glucose uptake via PPARγ.MethodsTranscription reporter assays using Cos7 cells were performed to determine if specific sulfonylureas stimulate PPARγ transactivation. Glimepiride, gliquidone, and glipizide (1 to 500 µM) were used as treatment, and rosiglitazone at 1 and 10 µM was used as a control. The effects of sulfonylurea and rosiglitazone treatments on the transcriptional activity of endogenous PPARγ were observed. In addition, 3T3-L1 adipocytes were treated with rosiglitazone (10 µM), glimepiride (100 µM) or both to verify the effect of glimepiride on rosiglitazone-induced glucose uptake.ResultsSulfonylureas, including glimepiride, gliquidone and glipizide, increased PPARγ transcriptional activity, gliquidone being the most potent PPARγ agonist. However, no additive effects were observed in the presence of rosiglitazone. When rosiglitazone was co-treated with glimepiride, PPARγ transcriptional activity and glucose uptake were reduced compared to those after treatment with rosiglitazone alone. This competitive effect of glimepiride was observed only at high concentrations that are not achieved with clinical doses.ConclusionSulfonylureas like glimepiride, gliquidone and glipizide increased the transcriptional activity of PPARγ. Also, glimepiride was able to reduce the effect of rosiglitazone on PPARγ agonistic activity and glucose uptake. However, the competitive effect does not seem to occur at clinically feasible concentrations

Geoffrey P. Redmond & Tze-ki Hon, Teaching the I Ching (Book of Changes), New York, Oxford University Press (Teaching Religious Studies Series), 2014

Arrault Alain. Geoffrey P. Redmond & Tze-ki Hon, Teaching the I Ching (Book of Changes), New York, Oxford University Press (Teaching Religious Studies Series), 2014. In: Bulletin de l'Ecole française d'Extrême-Orient. Tome 103, 2017. pp. 558-560

Sociocriticism analysis of «neutrality in documentary» in Bernd and Hilla Becher’s photography work

L’œuvre photographique de Bernd et Hilla Becher est toujours présentée comme étant strictement informative du fait qu’elle a appliqué un rigoureux protocole dit scientifi que lors de sa morphogenèse. Associée à “L’Ecole de la photographie de Düsseldorf ”, cette œuvre conceptuelle est considérée comme une tentative (hors idéologie) d’une nouvelle émancipation artistique de la photographie parce qu’elle repose sur des signes iconiques qualifi és d’espaces sémiotiques de neutralité. Or, cette neutralité devient contestable dès lors qu’elle constitue une modalité de transcription des structures iconiques de l’œuvre des Becher en homologie avec le désenchantement (M. Weber) que réactive l’émergence de structures sociohistoriques du [Le] nouvel esprit du capitalisme, décrit dans l’ouvrage éponyme de Luc Boltanski et Eve Chiapello. Tout comme est encore douteux que l’œuvre, en transcrivant l’inconscient culturel technoscientifi que infi ltré non consciemment dans la morphogénèse de la photographie, soit considéré comme relevant d’une neutralité objectiviste, dès lors qu’il renforce une indiff érence esthétique par un processus de dé-sensibilisation esthétique, culturelle et symbolique. Ainsi, les concepts de désenchantement comme celui de l’indiff érence esthétique ébranlent la notion de neutralité établie par la critique d’art contemporain prédominante. C’est la raison pour laquelle sont examinées dans cet article les structures signifi catives d’émancipation ou de “libération” de toute référence au vécu, d’indifférence sémantique et de vision du monde dépersonnalisée, comme étant susceptibles d’interagir sur le sujet, en constituant des homologies structurales entre ce type de photographie documentaire artistique contemporaine et le Tout (Cros: 2016). Le Tout, étant ici compris comme le monde social en passe d’être dominé par un capitalisme libéral globalisé.Th e photographic work of Bernd and Hilla Becher is always considered as being strictly informative, applying a rigorous so-called scientifi c procedure in its very morphogenesis. Associated to the Dusseldorf School of Photography, this conceptual work is seen as a new attempt (leaving ideology aside) to be artistically emancipated from photography as the former rests on iconic signs characterized as neutral semiotic spaces. Now this neutrality becomes questionable in so far as it constitutes a mode of transcription of the iconic structures of the Bechers’ work in homology to the disenchantment (M. Weber) that is reactivated by the emergence of socio-historical structures of Le nouvel esprit du capitalisme (‘the New spirit of capitalism”), as it is describes in the eponymous book by Luc Boltanski and Eve Chiapello. In the same way, it is still doubtful whether their work, by transcribing the techno-scientifi c cultural unconscious unwittingly infi ltrated in photography’s morphogenesis, is considered as belonging to some objectivistic neutrality, in so far as this unconscious reinforces an aesthetic indiff erence, through a process of aesthetic, cultural and symbolic desensitization. Thus, the concepts of disenchantment as well as of aesthetic indiff erence shake the notion of neutrality established by the prevailing contemporary art criticism. That is why this article examines the signifi cant structures of emancipation or ‘liberation’ from any reference to real life, of semantic indiff erence and of a depersonalized vision of the world, as being susceptible to interact with the subject, by constituting structural homologies between this type of contemporary artistic documentary photography and the Tout (‘Th e Whole Th ing’) (Cros: 2016), that is to be understood as the social world that is about to be dominated by a globalized liberal form of capitalism.Siempre se presenta la obra fotográfi ca de Bernd e Hilla Becher como estrictamente informativa por aplicar en su morfogénesis un protocolo riguroso llamado científico. Relacionada con la “Escuela de la fotografía de Düsseldorf ”, esta obra conceptual es considerada como tentativa (fuera de ideología) de una nueva emancipación artística de la fotografía porque estriba en signos icónicos considerados como espacios semióticos de neutralidad. Sin embargo, esta neutralidad se revela contestable siempre que constituye una modalidad de transcripción de las estructuras icónicas de la obra de los Becher en homología con el desencanto (M. Weber) que reactiva la emergencia de estructuras sociohistóricas del [El] nuevo espíritu del capitalismo, descrito en la obra epónima de Luc Boltanski y Eve Chiapello. Al igual que es todavía dudoso que la obra, al transcribir el inconsciente cultural tecno-científico filtrado no conscientemente en la morfogénesis de la fotografía, se considere como entrando dentro de una neutralidad objetivista, siempre que refuerza una indiferencia estética por un proceso de de-sensibilización estética, cultural y simbólica. Así, los conceptos de desencanto como el de indiferencia estética socavan la noción de neutralidad elaborada por la crítica de arte contemporáneo predominante. Es por lo que se examinan en este artículo las estructuras significativas de emancipación o de “liberación” de cualquier referencia a lo vivido, de indiferencia semántica y de visión del mundo despersonalizada, como potencialmente capaces de inferir en el sujeto, al constituir homologías estructurales entre este tipo de fotografía documental artística contemporánea y el Todo (Cros: 2016). El Todo, aquí entendido como el mundo social a punto de ser dominado por un capitalismo liberal globalizado

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