10 research outputs found
« Swiss film implosion ! » au Centre dâart de Fribourg
Le Fri Art frappe un grand coup en proposant pour la premiĂšre fois une rĂ©trospective entiĂšrement dĂ©diĂ©e aux Ćuvres cinĂ©matographiques et para-cinĂ©matographiques expĂ©rimentales dâartistes suisses ou ayant travaillĂ© en Suisse. Lâexposition rĂ©sulte de lâinitiative dâun groupe de recherche conduit par lâUniversitĂ© de Lausanne, la ZHdK de Zurich et la HSLU de Lucerne dont François Bovier, Adeena Mey, Thomas ShĂ€rer et Fred Truniger ont, entre 2010 et 2013, exhumĂ© ces « films » oubliĂ©s. CuratĂ©e par ..
La mĂ©taphilosophie et le problĂšme de lâexpression. DiffĂ©rence et interdĂ©pendance du fond et de la forme dans Quâest-ce que la philosophie ?
On entend volontiers que le dernier opus de Gilles Deleuze participe de la « mĂ©taphilosophie », entendu quâil sâagit dâun livre de philosophie sur la philosophie. Mais bien trop souvent, on ressasse ce prĂ©fixe comme si ce Ă quoi il renvoyait Ă©tait Ă©vident, et lâon nâinterroge pas le rapport complexe et subtil quâentretient le discours philosophique de Quâest-ce que la philosophie ? avec son sujet, relation forcĂ©ment incestueuse voire schizophrĂšne (la philosophie qui doit se sĂ©parer dâelle-mĂȘme pour se prendre comme sujet). Cette tĂąche dâesquisser ce qui constituerait une explication du rapport entre le livre et le discours est celle Ă laquelle cet article sâenchaĂźne
How Digital Hybridization Creates New Performance Practices: The Case of Alternate Virtuality Games
In this paper, we examine a new set of hybrid ludic practices utilizing cross-media narration that emerged with the rise of the Internet commonly called Alternate Reality Games. However, we propose to coin the term Alternate Virtuality Games (or AVG) as a way to distinguish these digital practices from their real-life counterpart. Viral online AVGs like This House Has People in It (Resnick, 2016) or Ben Drowned (Jadusable, 2010) are emblematic of a horizontal relationship between work and spectator, as well as performance outside of art institutions. The immersiveness of AVGs is unbound by the space and time of a specific happening, and is rather experienced by a multitude of agents at different times and places. This characteristic of being an extra-individual experience as well as being independent from institutions also places AVGs within liminal experiences such as studied by anthropologist Victor Turner.As such, we analyze these hybrid games as a mean for the 21st century spectator to overturn societal status quo through newfound agency. These performing agents get into a subjective state where they can experience and criticize our relationship to digital devices in a society of information and control, without being subjected to it
L'écriture charnelle de Kanai Mieko : sexualités transgressives et transgressions narratives
Ce travail explore la production littĂ©raire de lâĂ©crivaine japonaise Kanai Mieko (1947-). Plus prĂ©cisĂ©ment, il se concentre sur la production de lâĂ©crivaine entre 1967 et 1975, pĂ©riode durant laquelle Kanai mĂ©lange reprĂ©sentations horrifiques de sexualitĂ©s « perverses » et expĂ©rimentations narratives. Ces expĂ©rimentations narratives sont Ă lire au prisme de la thĂ©orie de « lâĂ©criture charnelle » quâelle dĂ©veloppe dans deux essais : « Vers une thĂ©orie du corps charnel » (1969) et « Texte/RĂ©alitĂ©/Chair » (1984). Dans ces essais, elle expose son idĂ©e selon laquelle lâĂ©criture peut ĂȘtre charnelle en redonnant au lecteur une agentivitĂ© physique, concrĂšte dans la crĂ©ation du texte. En outre, Kanai dĂ©veloppe dans ses nouvelles une intertextualitĂ© avec le mouvement littĂ©raire dâavant-guerre dit ero-guro-nansensu, en particulier avec les figures majeures dâEdogawa Ranpo (1894-1965) et de Yumeno KyĆ«saku (1889-1936), qui ont Ă©galement expĂ©rimentĂ© avec la position du lecteur au travers de reprĂ©sentations dâactes sexuels extrĂȘmes. Lâobjet de ce mĂ©moire est ainsi de comprendre la relation entre lâĂ©criture charnelle et la mise en scĂšne dâactes sexuels violents dans les nouvelles de Kanai Mieko, ainsi que dâexplorer la nature de lâintertextualitĂ© avec lâero-guro-nansensu.This masterâs thesis delves into the written output of Japanese female writer Kanai Mieko (1947-), more specifically into her early short novels produced between 1967 and 1975. During this period, Kanai intertwined stories of horrific, âperverseâ sexualities with narrative experimentations. These experimentations have been theorized by the author herself under the concept of âcorporeal writingâ which she exposes in two essays: âTowards a Theory of Corporealityâ (1969) and âText/Reality/Bodyâ (1984). According to her, a text can become corporeal when the author gives agency back to the reader, involving them physically in the process of writing. Moreover, Kanaiâs early novellas show clear intertextuality with the pre-war literary movement called ero-guro-nansensu, and in particular the two major figures of Edogawa Ranpo (1894-1965) and Yumeno KyĆ«saku (1889-1936), both of which had already experimented with narrative devices through violent and licentious imagery. Our goal was therefore to understand the correlation between corporeal writing and sexuality in Kanaiâs early texts, as well as drawing a clearer picture of her dialogue with ero-guro-nansensu
Pandemic and Mass Media
In this chapter, I will discuss the societal phenomenon surrounding the yĆkai amabie during the initial COVID-19 outbreak in Japan in 2020. Originating from a trending hashtag on Twitter that challenged users to draw their own amabie, her fame quickly spread into the consumer market with amabie-themed trinkets and protective charms. Eventually, amabie became the face of the collective effort against the virus and was adopted by shrines across the country as a tutelary divinity for the coronavirus pandemic. However, through a memetic study of the history of representations of yĆkai in Japan, I will argue for her significance as a countercultural artifact rather than a mainstream governmental instrument. I mainly focus my study on late Edo, when amabie was first drawn and cheap woodblock prints (kawaraban) of yogenjĆ« or âprophetic beastsâ warning against incoming plagues. These popular prints nurtured an ecosystem of images free from governmental control and acted as a venue of free speech for people to offer social commentary on current events. By transforming and sharing their own kawaraban, people were countering Edoâs obsession with systems and encyclopedic knowledge. It is not coincidence that the resurgence of amabie came about in the context of the COVID pandemic, which forced countries to take radical measures regarding public hygiene and social distancing. By sharing drawings of the yĆkai online and turning a meme into a divinity, the people created an instrument of subversion in a time of intense regulations
Le jeu-vidéo, expérience-limite du sujet
Le jeu-videÌo est le support dâune expeÌrience estheÌtique qui se deÌmarque par son inter-activiteÌ. Ce trait implique une reconside-ration radicale des rapports eÌtablis entre une Ćuvre, son creÌateur et son reÌcepteur. Le prĂ©sent travail se propose de deÌvelopper une estheÌtique propre au jeu-videÌo, qui dissout lâidentiteÌ reconnue aÌ lâĆuvre et celle du ou des creÌateurs. LâexpeÌrience du spectateur y devient celle dâun individu eÌprouvant les limites de sa propre subjectiviteÌ.Video-game is the basis for an aesthetic experience remarkable for its interactivity. This implies a radical reshaping of the usual relations between the opus, its maker and its viewer. The present work strives to develop a field of aesthetics that would be unique to video-games, a field in which the acknowledged identity of the opus and the one of its maker(s) are dissolved. What was once the experience of a viewer would now become one of an individual testing the limits of their own subjectivity
Dans le labyrinthe de la pensée
Ce volume propose une relecture du Quâest-ce que la philosophie?, ultime opus (1991) Ă©crit Ă quatre mains par Gilles Deleuze et FĂ©lix Guattari. Il veut donner accĂšs Ă ce texte difficile en montrant comment les concepts qui y sont dĂ©finis permettent de penser plus avant, entre autres la composition musicale et le geste mĂȘme de prendre pour objet lâacte de philosopher. Il invite encore Ă confronter la pensĂ©e des deux philosophes Ă dâautres rĂ©flexions, amies ou ennemies. Mais il montre encore que, loin dâĂȘtre une mĂ©tĂ©orite, lâĆuvre sâinscrit, jusque dans sa crĂ©ativitĂ© la plus dĂ©bridĂ©e, dans la tradition de la mĂ©taphysique occidentale. A ce titre, le volume nâest donc pas un simple essai de doxographie. Il se veut une tentative de penser dans le sillage ouvert par lâinventivitĂ© philosophique de Gilles Deleuze et FĂ©lix Guattari, en mĂȘme temps quâune invitation Ă dĂ©plier la crĂ©ativitĂ© de sa propre pensĂ©e au contact dâune Ćuvre dont la fĂ©conditĂ© est encore Ă venir
L'expérience dans l'art
LâĆuvre dâart est de plus en plus incertaine, fluctuante, Ă©phĂ©mĂšre, immatĂ©rielle. Marges revient dans ce numĂ©ro sur une thĂ©matique qui court tout au long du 20e siĂšcle : la volontĂ© de remettre lâart au sein de la vie quotidienne. La pĂ©riode rĂ©cente permet de reformuler cette ambition, Ă un moment oĂč lâexpĂ©rience esthĂ©tique en vient Ă se fixer sur de nouveaux types dâobjets