Symphony for a Genocide. Musiques industrielles et totalitarisme

Le courant des musiques industrielles révèle, tout au long des années 1980, une culture visuelle globale croisant différents médias dans un dialogue étroit avec l’héritage de la modernité. Certains groupes industriels mettent en scène une esthétique fascisante dans leurs œuvres, prenant comme repère l’histoire des régimes autoritaires, en particulier celui du Troisième Reich, afin d’interroger la façon dont les mass media de leur époque incarnent une forme de totalitarisme dissimulé. La diffusion de ces images auprès d’un public éclectique permet cependant à une scène politique d’extrême droite d’instrumentaliser ce mouvement artistique.England in the 1980s witnessed the emergence of industrial music bands involved in a counterculture that operated as a platform of exchange between the arts. Some industrial musicians became aware of the rise of mass media and of the new kinds of power that followed an ability to manipulate crowds. These artists used a subversive iconography in their visual productions in order to reveal a form of implicit totalitarianism generated by the power of information. However, the diffusion of these images among a large audience is instrumentalized by some right-wing parties and nationalists trends

CONSTRUCTION OF ASYMMETRIC CHUDNOVSKY ALGORITHMS WITHOUT DERIVATED EVALUATION FOR MULTIPLICATION IN FINITE FIELDS

The Chudnovsky and Chudnovsky algorithm for the multiplication in extensions of finite fields provides a bilinear complexity which is uniformly linear with respect to the degree of the extension. Recently, Ran-driambololona has generalized the method, allowing asymmetry in the interpolation procedure and leading to new upper bounds on the bilinear complexity. In this article, we first translate this generalization into the language of algebraic function fields. Then, we propose a strategy to effectively construct asymmetric algorithms using places of higher degrees and without derivated evaluation. Finally, we provide examples of three multiplication algorithms along with their Magma implementation: in F 16 13 using only rational places, in F 4 5 using also places of degree two, and in F 2 5 using also places of degree four

A Stochastic Process Approach of the Drake Equation Parameters

The number N of detectable (i.e. communicating) extraterrestrial civilizations in the Milky Way galaxy is usually done by using the Drake equation. This equation was established in 1961 by Frank Drake and was the first step to quantifying the SETI field. Practically, this equation is rather a simple algebraic expression and its simplistic nature leaves it open to frequent re-expression An additional problem of the Drake equation is the time-independence of its terms, which for example excludes the effects of the physico-chemical history of the galaxy. Recently, it has been demonstrated that the main shortcoming of the Drake equation is its lack of temporal structure, i.e., it fails to take into account various evolutionary processes. In particular, the Drake equation doesn't provides any error estimation about the measured quantity. Here, we propose a first treatment of these evolutionary aspects by constructing a simple stochastic process which will be able to provide both a temporal structure to the Drake equation (i.e. introduce time in the Drake formula in order to obtain something like N(t)) and a first standard error measure.Comment: 22 pages, 0 figures, 1 table, accepted for publication in the International Journal of Astrobiolog

Jean-Martin Charcot’s role in the 19th century study of music aphasia

Jean-Martin Charcot (1825–93) was a well-known French neurologist. Although he is widely recognized for his discovery of several neurological disorders and his research into aphasia, Charcot’s ideas about how the brain processes music are less well known. Charcot discussed the music abilities of several patients in the context of his ‘Friday Lessons’ on aphasia, which took place at the Salpêtrière Hospital in Paris in 1883–84. In his most comprehensive discussion about music, Charcot described a professional trombone player who developed difficulty copying music notation and playing his instrument, thereby identifying a new isolated syndrome of music agraphia without aphasia. Because the description of this case was published only in Italian by one of his students, Domenico Miliotti, there has been considerable confusion and under-acknowledgement of Charcot’s ideas about music and the brain. In this paper, we describe Charcot’s ideas regarding music and place them within the historical context of the growing interest in the neurological underpinnings of music abilities that took place in the 1880s

The Blood of Healthy Individuals Exhibits CD8 T Cells with a Highly Altered TCR Vb Repertoire but with an Unmodified Phenotype

CD8 T cell clonal expansions (TCE) have been observed in elderly, healthy individuals as well in old mice, and have been associated with the ageing process. Both chronic latent and non-persistent viral infections have been proposed to drive the development of distinct non-functional and functional TCE respectively. Biases in TCR Vβ repertoire diversity are also recurrently observed in patients that have undergone strong immune challenge, and are preferentially observed in the CD8 compartment. Healthy adults can also exhibit CD8 T cells with strong alterations of their CDR3 length distribution. Surprisingly, no specific investigations have been conducted to analyze the CD8 T cell repertoire in normal adults, to determine if such alterations in TCR Vβ repertoire share the features of TCE. In this study, we characterized the phenotype and function of the CD8 population in healthy individuals of 25–52 years of age. All but one of the EBV-positive HLA-B8 healthy volunteers that were studied were CMV-negative. Using a specific unsupervised statistical method, we identified Vβ families with altered CDR3 length distribution and increased TCR Vβ/HPRT transcript ratios in all individuals tested. The increase in TCR Vβ/HPRT transcript ratio was more frequently associated with an increase in the percentage of the corresponding Vβ+ T cells than with an absence of modification of their percentage. However, in contrast with the previously described TCE, these CD8+ T cells were not preferentially found in the memory CD8 subset, they exhibited normal effector functions (cytokine secretion and cytotoxic molecule expression) and they were not reactive to a pool of EBV/CMV/Flu virus peptides. Taken together, the combined analysis of transcripts and proteins of the TCR Vβ repertoire led to the identification of different types of CD8+ T cell clone expansion or contraction in healthy individuals, a situation that appears more complex than previously described in aged individuals

Computing with bacterial constituents, cells and populations: from bioputing to bactoputing

The relevance of biological materials and processes to computing—aliasbioputing—has been explored for decades. These materials include DNA, RNA and proteins, while the processes include transcription, translation, signal transduction and regulation. Recently, the use of bacteria themselves as living computers has been explored but this use generally falls within the classical paradigm of computing. Computer scientists, however, have a variety of problems to which they seek solutions, while microbiologists are having new insights into the problems bacteria are solving and how they are solving them. Here, we envisage that bacteria might be used for new sorts of computing. These could be based on the capacity of bacteria to grow, move and adapt to a myriad different fickle environments both as individuals and as populations of bacteria plus bacteriophage. New principles might be based on the way that bacteria explore phenotype space via hyperstructure dynamics and the fundamental nature of the cell cycle. This computing might even extend to developing a high level language appropriate to using populations of bacteria and bacteriophage. Here, we offer a speculative tour of what we term bactoputing, namely the use of the natural behaviour of bacteria for calculating

The Third Fermi Large Area Telescope Catalog of Gamma-ray Pulsars

We present 294 pulsars found in GeV data from the Large Area Telescope (LAT) on the Fermi Gamma-ray Space Telescope. Another 33 millisecond pulsars (MSPs) discovered in deep radio searches of LAT sources will likely reveal pulsations once phase-connected rotation ephemerides are achieved. A further dozen optical and/or X-ray binary systems co-located with LAT sources also likely harbor gamma-ray MSPs. This catalog thus reports roughly 340 gamma-ray pulsars and candidates, 10% of all known pulsars, compared to $\leq 11$ known before Fermi. Half of the gamma-ray pulsars are young. Of these, the half that are undetected in radio have a broader Galactic latitude distribution than the young radio-loud pulsars. The others are MSPs, with 6 undetected in radio. Overall, >235 are bright enough above 50 MeV to fit the pulse profile, the energy spectrum, or both. For the common two-peaked profiles, the gamma-ray peak closest to the magnetic pole crossing generally has a softer spectrum. The spectral energy distributions tend to narrow as the spindown power $\dot E$ decreases to its observed minimum near $10^{33}$ erg s$^{-1}$, approaching the shape for synchrotron radiation from monoenergetic electrons. We calculate gamma-ray luminosities when distances are available. Our all-sky gamma-ray sensitivity map is useful for population syntheses. The electronic catalog version provides gamma-ray pulsar ephemerides, properties and fit results to guide and be compared with modeling results.Comment: 142 pages. Accepted by the Astrophysical Journal Supplemen

Maurice Besset. Enseigner et exposer l'art abstrait (1969-1975)

In a context after May 1968, French cultural domain is considerably transformed. The stake in this report is to return on Maurice Besset's activities to the University of Grenoble and to the Musée de Peinture et de Sculpture of the City in seventies. It is a question of studying the influence which plays his education in his profession of exhibition commissioner. This passion for pedagogy directs professor-curator to a scenography of abstracted works concerning important artists as Max Bill, Jean Dewasne, Jean Gorin, or still Alberto Magnelli. Route of these events is enriched by numerous teaching aids marking Besset's will to create an "alive museum". These considerations will allow to return on a personality having brought an education of contemporary art history and a practice of organization of atypical exhibition. An archives collection Maurice Besset, in the library of the Institut National d'Histoire de l'Art in Paris, allows in particular to redraw the art historian's thought.Dans un contexte d'après mai 1968, le domaine culturel français se transforme considérablement. L'enjeu de ce mémoire est de revenir sur les activités de Maurice Besset à l'Université de Grenoble et au Musée de Peinture et de Sculpture de la Ville dans les années soixante-dix. Il s'agit d'étudier l'influence que joue son enseignement dans sa profession de commissaire d'exposition. Cette passion pour la pédagogie oriente le professeur-conservateur vers une scénographie d'oeuvres abstraites concernant des artistes importants comme Max Bill, Jean Dewasne, Jean Gorin, ou encore Alberto Magnelli. Le parcours de ces évènements est enrichi de nombreux supports pédagogiques marquant la volonté de Besset de créer un "musée vivant". Ces considérations permettront de revenir sur une personnalité ayant développé l'enseignement de l'histoire de l'art contemporain et une pratique de l'organisation d'exposition atypique. Le fonds d'archives Maurice Besset, à la bibliothèque de l'Institut National d'Histoire de l'Art, permet notamment de retracer la pensée de l'historien d'art

"Force de Frappe" : visual culture in Industrial musics (1969-1995)

Le courant des musiques industrielles, apparu au milieu des années 1970 et loin de s’en tenir à un phénomène d’expérimentation sonore, a produit en quelques années une culture visuelle globale croisant différents médias (graphisme, film, performance, vidéo), dans un dialogue étroit avec l’héritage de la modernité et sous l’emprise croissante des technologies. Ce phénomène britannique amorce un mouvement qui connaît un grand développement en Europe, aux États-Unis et au Japon durant les années 1980. Les expérimentations sonores déployées par les groupes industriels – élaboration de synthétiseurs, manipulation et transformation de sons enregistrés issus de bandes audio, recyclées ou conçues par les artistes – viennent enrichir un éventail de productions visuelles radicales, prenant ses sources dans les utopies modernistes de la première partie du XXe siècle. Cette thèse entend inscrire le projet visuel de la culture industrielle dans une histoire générale de l’art en analysant les différentes thématiques abordées par les principaux acteurs du mouvement. Dans la première partie, l’étude du contexte postindustriel de l’époque révèle combien ces performers intègrent à leurs œuvres une esthétique de la destruction par une appropriation des friches industrielles et urbaines comme nouveaux lieux de création. La deuxième partie envisage les « tactiques de choc » du genre industriel par le prisme du contrôle mental, de la criminalité, du totalitarisme et de la psychiatrie, avant de traiter d’un féminisme pro-sexe radical. Ces enjeux transitent vers un fort intérêt pour l’occultisme et le transhumanisme, faisant l’objet d’une troisième partie consacrée à la façon dont les artistes modifient leurs corps par des rituels magiques contemporains et par des expériences physiques confrontées aux nouvelles technologies qui renouvellent les protocoles habituels du domaine de la performance.Industrial musics appeared in the mid-1970s, and far from sticking to a phenomenon of sound experimentation, produced in a few years a global visual culture operating at the intersection of a multitude of media (graphics, film, performance, video), in a close dialogue with the legacy of modernity and under the growing influence of technology. This British movement had a great development in Europe, the United States and Japan during the 1980s. The sound experiments deployed by the industrial bands – designing synthesizers, manipulate and transform sounds recorded from audio tapes, recycled or conceived by the artists – were supplemented by a rich array of radical visual productions, taking its sources in the modernist utopias of the first part of the 20th century. This thesis aims to include the visual project of industrial culture in a general history of contemporary art by analyzing the different topics tackled by the main actors of the movement. In the first part, the study of the postindustrial context of this period reveals how these performers integrate in their works an aesthetic of destruction through industrial and urban wastelands used as new places of creation. The second part examines the “shock tactics” of industrial music through mind control, crime, totalitarianism and psychiatry, before dealing with radical sex-positive feminism. These issues move towards a strong interest in occultism and transhumanism, studied in the third part, which is devoted to the body modifications of these artists through contemporary magic rituals and physical experiments confronted with new technologies that renew the usual protocols in performance art