In the dictionary meaning Electrobolochoc is clearly an "act" on the one hand, "which has some importance", on the other hand, what it actually between the definition of the event. But it means much more. As he has his players to stand close to the emergence of their uniqueness in the presence near the "unveiling", he points out that Heidegger conceptualized through Ereignis, a term translated as' advent Which is understandable as "appearance" (epiphaneia) or "donation". This is going to the essence of the manifestation of the phenomenon in the emergence of the emergence in the presence surrection. This reference to Heidegger, fundamental, it follows that Electrobolochoc is the event of "openness" (Erschlossenheit), which becomes visible by the fate of being "(die Wesung of Seyne) is to say the least representation of our talent than they achieve universal in the act of initial presentation. This openness to being (Sein) differs from the account of being focused on the work, as it leads to the possibility of creating the purest. This openness is not theoretical, rather it is ethical in that it comes from the disposal of everyone to look towards what he has cleaner (Dasein), ie to its own end. It requires an attitude to this that I tend to be understood as an "existential attitude", by difference with the "natural attitude" that adheres naively in the world, and attitudes "philosophical", "scientific" and "artistic" which contribute to understand a set of phenomena in language.

 

Concurrently, electrobolochoc form a "multiple" composed of elements of its site and himself whose membership in a historic Veauce in 2005 and 2006 or Saint Gérand in 2007 is undecidable. It is what Badiou calls "a multiple beside the empty" and is written along the matheme of the event site X: e (x) = (x belongs to X, e (x)) where X, which means the site is still at this stage open. The event Electrobolochoc must lead to understanding the this event, ie an ontology which, as it is existential, beyond ontology. It can be as mathematical thought Badiou. Or poetic as Heidegger said. It must in any case speak in a language structured concepts if we believe the claims event. When the experiments where we are, after only three years of research, understanding of the electrobolochoc be based on five pillars whose numbers are significant and heuristics as they operate as regulators ideals. Beyond their definition and how they connect beyond their arrangement therefore in a language, conceptual project focuses on a broader logic of pure creation, which should link. Such logic incidentally form the core of my work on the identity conducted at the University of Neuchatel. The commitment to the quest for the meaning of this project signals a philosophical commitment with a universal scope. That is why it falls within the transcendental opened by Kant, pursued by the logic of Husserl and the analytical existential Heidegger. This perspective is transcendental to identify the conditions of possibility of any human creation. No serious thinker knows the enigma of the culture of Homo Faber, the liveliness of contemporary research on the technology of living, human evolution, paleontology, and so on. attested. To say otherwise, thought should be able to take it to fulfill its aim of understanding the event as "supernumerary" excess knowledge, and thus the hole. Electrobolochoc form and the side of the ratio. It is an event basically has absolutely normal or another, which included the duality at the heart of existence. The creatio originates and ends in what, following Lacan, which I call the trauma, per definitionem, and is barred arises, as it has developed in its reading of The Man wolf As a hallucination refusing any meaning: an incursion of "real" foreign impossible, which is a "hole" in the fabric symbolic. This singularity of the absolute creatio, "idiot" would Rosset, has escaped any philosopher, and interest beyond logicians, especially when paraconsistants. Thus seems to be that meaningful engagement of Jean-Yves and Alessio, logicians, philosophers and artists (soon providers of funds from Switzerland?) In this adventure.

The "displacement", the "repetition", the "enjoyment", the "secret" and "burial" are provisional names for five postures transcendental responsibility to investigate. Offering them as ideals regulators, electrobolochoc invites creators to consider the phenomena they can condense. When subjectivity is committed to objectivity and became the architect of a world, come into play emotions, judgments and horizons of universality exceptionalism requires the definition with new concepts. The trauma is cutting these postures. Their meaning is ephemeral and all its denotations is infinite, where a multiplicity of perspectives eligible.

Dear Olivier, Dear friends,

Following the most of you I do not hide my enthusiasm for this Prelude. I even take my turn with Semir, with both hands. The fire within this transformation particularly careful and effective me a big applause to his instigator. I liked the introductory text that illuminates everything with Hilbert and Chomsky ... and cognitive secretion, but also the ease of technical implementation report that creates a strong and clear presence (an "impact" like Marc) And finally the narrativity despite everything that breathes or through the shot and black background.

The choice of the face, voice and discursive sequences syntactically admissible in a lambda conscience are no strangers to the effectiveness of the device. They help to mobilize our attention, setting listening visual, aural and syntax. This is not nothing!

Marcin often recalls those famous contemporary studies showing that face recognition is the process of the brain that implements the largest number of synaptic connections, polarizing and maximum brain activity.

It seems to me that this film that captures our attention quite fully is an excellent indicator of trauma at large. Why? I do not say this only to make a scholarly reference to Levinas who, as everyone knows, involves the sight of the other face of a trauma originates. Levinas lack indeed, in my view, the impact here particularly conceptual patent. This film is rather a witness to the trauma, still at large ie non-pathological, as it generates a real presence and therefore almost complete (I think including the convening of silence by Marc Perrin). This presence is full of what I call the trauma "primary", by difference with the trauma secondary and tertiary trauma.

This tripartite distinction echoes that of Husserl on the memory, and by Stiegler on retention, and is the subject of a communication that I will in Compiègne in January (perhaps with Olivier and Alessio , Who knows?). Without waiting for you book the content of these concepts. What is it? The primary trauma is defined by a coincidence of the act which constitutes and the effect it produces (getting angry, convene silence). In contrast, the trauma this secondary effect behind the cause (an experience that is proving marquante long after or later), and trauma services decouples the effect of the case, which is not experienced and therefore -referential (do this, do that ...).

A typical example of primary trauma is provided by the subject produced a film that immediate accession of consciousness flow audiovisual (see Stiegler research on this issue in technique and time, T.3). There was no difference possible, except to turn off the flow. In the subject film when the camera is used as a universal spectator in a staging designed for him, the players are forced to produce meaning. The film reflects the sense product regardless of context, which is no longer important.

Olivier, during his filming, we specifically put in a situation we deliver fully here and now facing the eye of the viewer universal, with no possibility to postpone or suspend the appetite of this voyeur unknown. Worse, he sought to make us stumble, hesitation and slides up the crispy element of the experience - secretions themselves - forcing us to leave the comfort of rhetoric each use to tell without setting danger. Dérapements These are the salt of his work. And probably as such the performance of Anne Wambergue will be most rewarding: did not leave the field of language evoking classical terms without reference to any system to reach another universes, poetic off literally any basic semantics?

As this sobering - and-laughter, as he takes the audience into a new semantic universe, is it not copy of the living presence and, to this account, the creatio in situ?

I personally am used to give consistency to the concept of creation, not only as an illustration for the government of Culture, but especially for testing of new language forms.

Since then wonder agreement on the distribution, I am naturally open unreservedly to publicize this movie, especially through sites electrobolochoc, and one held recently redesigned by Bruno on one hand (electrobolochoc.com) or directed by Alessio, and I want to ask a question here to Olivier in the continuity of its turbulent performance of Barjols:

What gives this film received by an audience completely heterogeneous in electrobolochoc no contact with one of the protagonists or one of the witnesses electrobolochoc, with no affinity or knowledge of the electrobolochoc?

The question is to determine whether it has a meaning in itself if the players (it is the name chosen for the protagonists, is not it?) Are serving a wider talking to others. It would be interesting, in my view, deepen the "transformation" using new experiments known as "traumatic" type 0-1 introducing an abrupt break in the flow or change registry due to a signal, which would in particular to explore the role of retroactivity in the transformation. If you allow me, Olivier, - you are victim of extreme fruitfulness of your work flow between thought and language - here is a proposal for further study cognitive secretions - with or without us:

1. Filming understanding a person P, a new game (a math problem for example) set by the developer of the game (M), in which that person will play P

2. film the first part of P

3. film's explanation Thursday by the P P1 to the person who is invited to play in turn

4. film the first part of P1

5. Filming the Indications of M to the attention of P to improve his game

6. filming the second part of P

7. continue with P1 and so on

...

In any event, and I say now Alessio, it seems wise to consider mobilizing Olivier and his work in a day on the "natural logic" with and around Jacques Theureau and Grize (to see) that ATP might consider organizing in 2009 or later, in Nice or elsewhere. The best work of an action Theureau are available in editions Octares in Toulouse. The third volume will soon emerge. It is a gold mine on the constitution of the senses!

Hoping to have contributed to the game where our minds are engaged by Olivier ... see you

Paul-Victor

Delphine Gigoux-Martin

Delphine Gigoux Martin presents a facility where the design is paramount animé, moving, screening ...

In the installation work by Delphine Gigoux-Martin, nature is simultaneously setting intrigue, making distance and called into question. Poetic evocation of his obsessions, his universe is populated by animal consumption naturalized, at the hinge of the strange and familiar.
She realizes, from taxidermy animal and natural materials, devices sculptural which often add some sort of grounds reactivated the rock cave, a projection of animated drawings representing animals in their agitated space.

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Opening Thursday November 13, 18:30