The ‘Is’ of Fiction Elgin/Goodman Fictionalism : fictions in art and science

Cet essai a pour objet le rôle de la notion de fiction dans les domaines de l’art et de la science. Essentiellement, je soutiens que « fiction » dans ce contexte est « a category mistake » (concept versus genre) et je crois que cet essai peut réussir à « cuire du pain philosophique » en dévoilant une dispute verbale. Je suggère donc de clore un débat philosophique dans son intégralité. Je présente un exposé du style de fictionnalisme abordé par Catherine Z. Elgin et Nelson Goodman (que ce soit dans le contexte des arts ou des sciences, nous parvenons à la compréhension grâce à des fictions sous formes de « vérités non littérales ») et j’explore le concept de la fiction. Je soutiens que les représentations (textes descriptifs de toutes sortes, incluant les modèles) sont constituées d’éléments fictionnels et d’éléments facettés (à l’exception de la version idéale possible ou impossible, c’est-à-dire dans l’esprit de Dieu, qui n’inclurait que les facettes.) La compréhension ne peut provenir de la fiction, mais plutôt d’éléments facettés ordonnés de manière à créer une compréhension qui conduit généralement à des prédictions, des explications et des manipulations. Je définis les facettes comme ayant des caractéristiques organisées, alors que les fictions ont des caractéristiques désorganisées. La fiction dans son intégralité est donc, par définition, l’expression du néant (of nothing), ou en matière de langues idéales (mathématiques), l’expression de contradiction. Les fictions et les facettes relèvent des représentations qui sont elles-mêmes primitives. Les textes descriptifs sont donc fictionnels par degré. Les récits qui sont très fictionnels ont une certaine valeur (souvent ludique) mais contiennent toujours au moins une facette. En fin de compte, toutes les activités représentationnelles devraient être considérées irréelles, incomplètes, bien que parfois connectées à la réalité, c’est-à-dire, prises entre une description réaliste facettée et une fiction dans son intégralité.

A Mediated Presence : Uncovering Nietzsche in Art History from its Foundations to Contemporary Anglo-American Curricula

La pensée de Nietzsche a joué un rôle déterminant et récurrent dans les discours et les débats qui ont formé et continuent de façonner le domaine de l’histoire de l’art, mais aucune analyse systématique de cette question n’a encore vu le jour. L’influence de Nietzsche a été médiée par divers interlocuteurs, historiens de l’art et philosophes, qui ont encadré ces discussions, en utilisant les écrits du philosophe comme toile de fond de leurs propres idées. Ce mémoire souhaite démontrer que l’impact de Nietzsche dans le champ de l’histoire de l’art existe mais qu’il fut toujours immergé ou éclipsé, particulièrement dans le contexte anglo-américain, l’emphase étant placée sur les médiateurs de ses idées en n’avouant que très peu d’engagement direct avec son œuvre. En conséquence, son importance généalogique pour certains fondateurs de la discipline reste méconnue; sa présence réellement féconde se traduit plutôt comme une absence ou une présence masquée. En vue de démontrer ce propos, nous regardons donc le contexte nietzschéen qui travaille les écrits de certains historiens de l’art, comme Jacob Burckhardt et Aby Warburg, ou des philosophes et d’écrivains ayant marqué la discipline de l’histoire de l’art (plus particulièrement dans le cadre de l’influence de la « French Theory » sur l’histoire de l’art anglo-américaine depuis la fin des années 1970) : Martin Heidegger, Michel Foucault, Jacques Derrida, Gilles Deleuze et Georges Bataille. Nous examinons certaines voies par lesquelles ses idées ont acquis une pertinence pour l’histoire de l’art avant de proposer les raisons potentielles de leur occlusion ultérieure. Nous étudions donc l’évolution des discours multiples de l’histoire comme domaine d’étude afin de situer la contribution du philosophe et de cerner où et comment ses réflexions ont croisé celles des historiens de l’art qui ont soit élargi ou redéfini les méthodes et les structures d’analyse de leur discipline. Ensuite nous regardons « l’art » de Nietzsche en le comparant avec « l’art de l’histoire de l’art » (Preziosi 2009) afin d’évaluer si ces deux expressions peuvent se rejoindre ou s’il y a fondamentalement une incompatibilité entre les deux, laquelle pourrait justifier ou éclairer la distance entre la pensée nietzschéenne sur l’art et la discipline de l’histoire de l’art telle qu’elle s’institutionnalise au moment où le philosophe rédige son œuvre.

THE WINCHESTER CENTRE FOR GLOBAL FUTURES IN ART DESIGN & MEDIA

The Winchester Centre for Global Futures in Art Design and Media highlights historical, contemporary and future roles for art, design and media within globalization. Its members build sustained collaborations with international partners in public service, the creative industries and civil society. Critically concerned with art and design practices of making, thinking and representation, the Winchester Centre actively engages in education and enterprise, exploring the contribution of media, materials and technologies to the improvement of human societies globally. Led by professors Jonathan Harris, Sean Cubitt, and Ryan Bishop, the Winchester Centre will make a decisive contribution to the work of the School and the University in future years. The Centre's inaugural professors would like to invite you now to suggest future research themes and activities. In the coming weeks details regarding the programme and prospective membership of the Winchester Centre will be made available.

Duel between the EU and Argentina: Weapons in the EU Arsenal. CEPS Commentary, 13 September 2012

Relations between the European Union and Argentina are under severe strain. For years, the Argentinean government has been involved in a diplomatic dispute with the United Kingdom over the status of the Falkland Islands (Las Islas Malvinas to the Argentines). It recently decided to take advantage of Spain’s current economic weakness to attack a major Spanish investment in the country. On April 16th, the Argentinean government expropriated 51% of Repsol’s shares in YPF, a former state-owned oil company, which had been privatised in the early 1990s. This action provoked a public outcry in Madrid and beyond, especially in the European Commission. In this Commentary, we explore its longer-term impact on relations between the EU and Argentina.

Women in art: the last taboo

The intention of this paper is to explore traditions and current trends in art with particular reference to the depiction of female experiences such as pregnancy, abortion, birth and motherhood. The inclusion and exclusion of such images in art history over time and across societies reflects prevailing attitudes, whilst affirming various stereotypical and gendered constructions developed and sustained within those societies. These constructions in turn relate to criteria defined by class, access to education and notions of femininity. Work by artists which feature aspects of these experiences (particularly childbirth), is considered taboo by many in a Western society which continues to render the essentially female experience as private, invisible and stigmitised and confuses the natural with the sexual. The work of undergraduate art students, inspired by the artwork of women artists who make explicit or are influenced by essentially female experiences, is discussed and attempts made to connect their work to the issues outlined.

The Bomb: Nuclear Weapons in their Historical, Strategic and Ethical Context

This book examines to what extent the invention and first use of nuclear weapons was a turning point in the history of warfare and strategy(to what extent was it a mere continuation or perfection of air power strategy? Were the casualty numbers really unprecedented?), the ethics of war (was this form of war against civilians unprecedented?), and it asks whether it was an expression of total war or did it create total war

Civilian casualties – do we really care? The failure of the revolution in military affairs of non-lethal weapons in the U.S., Russia and Israel

Causing civilian casualties during military operations has become a much politicised topic in international relations since the Second World War. Since the last decade of the 20th century, different scholars and political analysts have claimed that human life is valued more and more among the general international community. This argument has led many researchers to assume that democratic culture and traditions, modern ethical and moral issues have created a desire for a world without war or, at least, a demand that contemporary armed conflicts, if unavoidable, at least have to be far less lethal forcing the military to seek new technologies that can minimise civilian casualties and collateral damage. Non-Lethal Weapons (NLW) – weapons that are intended to minimise civilian casualties and collateral damage – are based on the technology that, during the 1990s, was expected to revolutionise the conduct of warfare making it significantly less deadly. The rapid rise of interest in NLW, ignited by the American military twenty five years ago, sparked off an entirely new military, as well as an academic, discourse concerning their potential contribution to military success on the 21st century battlefields. It seems, however, that except for this debate, very little has been done within the military forces themselves. This research suggests that the roots of this situation are much deeper than the simple professional misconduct of the military establishment, or the poor political behaviour of political leaders, who had sent them to fight. Following the story of NLW in the U.S., Russia and Israel this research focuses on the political and cultural aspects that have been supposed to force the military organisations of these countries to adopt new technologies and operational and organisational concepts regarding NLW in an attempt to minimise enemy civilian casualties during their military operations. This research finds that while American, Russian and Israeli national characters are, undoubtedly, products of the unique historical experience of each one of these nations, all of three pay very little regard to foreigners’ lives. Moreover, while it is generally argued that the international political pressure is a crucial factor that leads to the significant reduction of harmed civilians and destroyed civilian infrastructure, the findings of this research suggest that the American, Russian and Israeli governments are well prepared and politically equipped to fend off international criticism. As the analyses of the American, Russian and Israeli cases reveal, the political-military leaderships of these countries have very little external or domestic reasons to minimise enemy civilian casualties through fundamental-revolutionary change in their conduct of war. In other words, this research finds that employment of NLW have failed because the political leadership asks the militaries to reduce the enemy civilian casualties to a politically acceptable level, rather than to the technologically possible minimum; as in the socio-cultural-political context of each country, support for the former appears to be significantly higher than for the latter.