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Bagnall and Klaas A. Moloney and Michael Stuart Williams. Sacks associate editor, Tyler Edward Kelley. Davis, and Sharon R. Balot, Sara Forsdyke and Edith Foster. Sirks, P. Sijpesteijn, K. Ltd, Jahrhundert v. Jahrhundert n. Rudolf Habelt GmbH, Edward Siecienski. Hasselhoff und Meret Strothmann. Beck, Vitelli, Hakkert, Strong Western Michigan University. Geuthner, Geschichte d. Sidney Allen. Storin, and Edward J. Habelt, El-Masry [and six others]. Teubner, Hasitzka unter mitarbeit von Hermann Harrauer.

Diethart und Klaas A. Band VI, Gesang, Faszikel 2. Millis and Sara Strack and edited by S. Douglas Olson. Most and Leyla Ozbek. Wilson, Fellow and tutor of Lincoln College, Oxford. Iuli Caesaris recensvit brevique adnotatione critica instruxit Renatus Du Pontet. Kendall and Faith Wallis. Latin Scriptorum classicorum bibliotheca Oxoniensis. Liber Winter, Friedrich in der Sitzung vom April Coulson and Bruno Roy.

Annaeus Seneca edidit: Hermannus Malaspina. Liber 2. Joy Littlewood. Jones and Scott G. Together with the commentary of Alexius Vanegas of Toledo introduction, edition and translation by Daniel Nodes. Set of rules whose mechanical i. An algorithm can be executed by a human operator or a machine designed to do so. Entropy, n. Magnitude that makes it possible to measure the degree of disorder in a system. See [Affective substances]. Self-consciousness, n.

Empathetic consciousness of a multitude of individuals able to generate a social body, a coherent social behaviour with no pre-existing organization. Swarm intelligence, n. Term designating a form of behaviour characterized by the absence of central control or overall architecture.

On the basis of simple rules for individual behaviour, swarm intelligence makes it possible, for example, to understand and simulate cloud phenomena, i. By extension, said of a human society that adopts a biostructure as a social protocol. These growth stimuli are the result of individual behaviours, determined at the local level particularly by negotiations between next-door neighbours and nanoreceptors and registered by means of elementary mechanisms. The morphogenesis thus produced is the emergent consequence of these activities.

The citizens of a biostructure are both individuals of a swarm including the Viabs and co-authors who write the rules in the hope that the Viab will better carry out the task assigned to it, the production of an indeterminate habitable structure. Nanoreceptors, n. Nanoparticles NP used to capture and detect the presence of a chemical substance in a particular atmosphere. Functioning: Like pollens, they are concentrated in the bronchia and attach themselves to the blood vessels.

Description

This location makes it possible for them to detect traces of stress hormones hydrocortisone carried by the haemoglobin. As soon as they come into contact with this substance, the phospholipidic membrane of the NP dissolves and releases several molecules, including formaldehyde H2CO in a gaseous state. The molecules rejected by the respiratory tract are detected using cavity ring-down spectroscopy C. This is a method of optical analysis using laser beams programmed to a particular frequency, making it possible to measure the density of air-borne molecules.

The wavelength used for the detection of formaldehyde is around nanometres. Consequently, the nanoreceptors keep the Viabs informed about the ambient stress level. Polymerization, n. A reaction in which low molecular mass particles hook up with each other to form high molecular mass compounds. Residence kit, n. Set of elements making up a dwelling, which can be assembled by oneself using an instruction diagram. By extension in the biostructure, a welcome pack allowing a citizen to colonize an alveolar cell after the structural extension carried out by the Viab.

The reaction launched by this catalyser polymerizes the plastic material and solidifies the walls of the habitat. Agricultural kit below. A further explanation: During the expansion, before polymerization, the specially-designed end points of the web are attached to the concrete structure by means of chemical adhesion.

At this time the attachment of these end-points under tension must be done by hand, through the reticular structures. This task will soon be turned over to the Viab. Agricultural kit, m. A set composed of living entities animal and vegetable that can be cultivated. Agricultural kits are meant to be used for food production autarchy and asepticizing the environment light, atmosphere, pathology. Biotropism, n. Spatially-oriented growth among stationary plants and animals under the influence of exterior stimulus biological, organic or chemical. Growth of a region through the inflow and deposit of material.

By extension, in the biostructure, characteristic of the local growth of the reticular structure produced by the Viab, which secretes concrete to make small extensions modules of the reticular structure. In traditional models of growth by accretion also called aggregation , especially the Witten and Sander model of growth through limited diffusion, particles of matter move by chance through the free space and aggregate on a structure when they come into contact with it.

The resultant structures are characteristically quasi-arborescent, with, in particular, long branches and a relatively weak density. In the case of the biostructure, the growth sites are determined principally by individually requests, internal to the structure. Nevertheless, because distribution of these requests is not uniform but instead related to external luminosity and the pre-existing density, the process of accretion presents characteristics in common with the standard models. Wire frame representation, n. A representational mode implicit in volumes based on a wire structure in which each element of the volume is generated by the development of a normal wire-like section.

In the biostructure, the volume elements roughly approximate cylinders of standardized diameter, limiting the generated sections to circles. The wire structure is thus completely defined by an ensemble of links characterized by a maximum and minimum nominal length and knots where the wire structure arboresces. Combinatoric graph, n. A graph is the data of the abstract ensemble V whose elements are called the knots, and an ensemble E of pairs x,y of elements of V, called the links.

Based on a wire frame representation, a combinatoric graph can be defined ignoring the geometric constraints of length and spatiality to simply produce an abstract ensemble V of knots and links E with x,y in E if there is a link between the knots x and y and the wire frame representation. Greek mythology A connecting thread, a reference to the thread Ariadne gave Theseus so that he could find his way out of the labyrinth. The Viab works in phases, and during the course of a phase the source is fixed and acts as an anchor. The Viab moves away from that anchor by activating the necessary channels along its path, and withdraws along this path before bifurcating off in other directions.

Brownian serpent, n. Stochastic process studied in probability theory as a modelling of branching aleatory steps. In the absence of other stimuli, the direction of the extension is chosen at random to simplify, in a equiprobabalistic manner among a finite set of possible directions. In broad terms, this behaviour is inflected by or disturbed by stimuli.

While extremely simplified, this model makes it possible to incorporate the perturbations induced by the chemical stimuli in the form of spatially non-homogenous modifications of the extension transitions. In particular, these perturbations induce the development of pathological branches or areas of abnormal density. Somnambulism, n. Prepsychism, n. A current of thought that attributes to the individual the possibility of binding anywhere and in any way, with anything and everything, in order to generate a dynamic of constant combination and recombination.

Scenario: 1 Speculate a habitable organism that develops by means of adaptive, transitory scenarios in which the operational mode is uncertainty. It allows you to activate your bodily chemical reactions mainly molecules such as dopamine, adrenaline, serotonin and hydrocortisone that indicate your animal reaction degree of pleasure or repulsion, curiosity or absence of interest. This helps us determine the cartography of your future residence area. It only takes three minutes. During the test a kind of vapor nanoparticles will be emitted.

This will help us detect changes in your emotional state without the need for any noxious intrusion. Breathe deeply and let it flow into you. Nevertheless the test involves a protocol that requires your agreement before it can be carried out. You take it at your own risk, and the Lab cannot be held responsible for any secondary psychological effects.

This will only take three minutes. Relax and slide your hand into this box. It will set a baseline by measuring your bodily equilibrium over the next 30 seconds. The procedure is simple. There's nothing to worry about. Your body will become the vector of your emotions, and we'll record it. Your body will react naturally to my voice.

Let my voice soak into you. Don't be nervous. During the test a kind of vapor will be released. It helps us capture the changes in your emotions without being intrusive. Let it flow into you, breathe it in. It can't hurt you. I'll be inhaling it at the same time as you are.


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The test is about to start. In front of you is a robot construction machine. It is simultaneously your guide and your emotional indictor, your dynamic portrait. Its movements are directly influenced and affected by the nano-particles you will inhale and exhale. Breathe deeply and slowly. You're in your habitat, your future habitat, one that you desire without yet knowing what it's like yet, but you can feel it and walk through it. You breathe in the atmosphere of this dwelling; you let it infuse you. You might feel more comfortable here or more uncomfortable. Either way it doesn't matter.

You let yourself go further, and be filled by the sensations it suggests, as you discover all sorts of details you never saw before and whose existence you didn't even suspect. You took pleasure in this vertigo. In an unstable, tenuous equilibrium. It's taking you over.

But that's not enough to describe where you are right now. The family, your family, has become a conflict zone and you can no longer be in denial or calm things down. You'd like to be able to renegotiate the separations involved, for the distances between you to expand or contract depending on your mood. It seems that you've wanted to unalienate yourself from that community you're submerged and drowning in. It's not an illusion to believe that space can help you with that. Not that space has the power to reduce and absorb those underlying, exhausting, gnawing conflicts, but it can offer layouts that encourage the morphology of the moment, and offer you choices in your relationships..

Or, on the contrary, to unfold yourself in space and time. Synchronized to your own body, your arteries, blood and genitals, to your beating organism. But that's not enough to completely satisfy you. There's something missing, something rare, you feel the lack of this thing without being able to say exactly what it is. But you've learned how to hide that, to make yourself believe that you can do without it.

You may feel dizzy again. There's no need for the void for that. This thing envelops you. Here everything is knotted together and intertwined. It's all there, in the process of becoming, in a movement in the process of becoming.

French-English Dictionary (35, Entries)

Let yourself go. Don't think. Just let yourself slip into this silky and strange sensation that terrifies and caresses you.. That terrifies and caresses you. Pull yourself together and don't get up until you feel ready to do so. You might feel slightly confused for a few seconds while the nano-receptors are being expelled and reabsorbed.

Serment d'Hippocrate : à l'origine de l'éthique médicale - #CulturePrime

Your body data has been recorded. You can take a look at your physiological report on the screen in front of you. I won't see you to the door; you know the way. Later, we'll record your voice, on each of the suggested questions, so that the expression of your desires is the combined result of your physiology and its changes during the test phase, so that we can resynchronize your habitation request. Thank you. Cela ne prend que sept minutes. Cela ne prendra que trois minutes.

Le test va commencer…. Laissez-vous emporter. Qui vous effraie et vous caresse Je ne vous raccompagne pas, vous connaissez le chemin There you go. The experience will begin shortly. These strange noises, the weird vapours I have to admit that even I was disturbed by what went on there, but at the same time, without understanding why, I had no doubt that there was something there, something that could be The adventure will be revealed only to those who are willing to risk embarking on it What are you supposed to do when you find yourself face to face with something unique?

Do that now. Settle in. Perhaps you feel a certain tension somewhere in your body, a certain sense of discomfort. Let your body take you away. Overall, your body is relaxed. Let yourself by carried away by the soft light and the suspension of time. And now you feel yourself filling up, swelling until you take up the whole chair.

Let your mind go where it wants to without worrying about it. You feel heavy, but at the same time you feel light. Just let yourself drift away. Your feet are resting comfortably on the floor A few minutes ago maybe you felt oppressed by the disorder of your home, or just the opposite, by the slightly too rigid order prevailing there.

Without thinking about it, let yourself change a few things or move the furniture and other objects around, so that your environment goes along better with what you are or what you want to be. Through the open window the city coming into view is a body, an intertwined, tangled, knotted body Its curves are like those of a forest with twisted branches and diffused light. The woods guide you, you feel both afraid and protected, childlike and grown-up, this city is an extension of your own body, of your arteries, of your blood, of your genitals, of your throbbing body.

You are one thing in that ensemble, one element coalescing into the whole, something porous with its own respiration and that aspires to be its own environment You are one of the nerve endings of this body that is a city, you are at the centre where it all interconnects, of a multitude of pulses, and you feel the energy, the substance, you feel the growth of this body that is a city like an extension of your own corporality. No morality can be dictated from on high You are this body that is a city and you feel it growing Mixtures of ugliness and beauty, of obstacle and possibilities, of waste materials and efflorescence, of threats and protection, of technological power and the forces of nature, this body unfolds before your eyes and it is your dwelling place Here everything comes together in a knot.

Just let yourself glide into this silky, strange sensation that scares you and caresses you That scares you and caresses you Session closing Now you can let your eyes open again. Take your time. Gather your thoughts and get ready to stand up whenever you feel ready. If you feel slightly dizzy, just wait a minute until space and time come back to you The session is over now. Ces bruits bizarres, cette vapeur suspecte Faites-le maintenant. Installez-vous confortablement. Laissez votre corps vous emmener Vous allez tout simplement prendre du poids, votre poids dans ce fauteuil.

Et puis votre volume, tout votre volume qui se remplit et qui prend sa place. Vous ne faites rien, vous laissez faire. Vous pouvez vous absenter. Vous fermez les yeux et vous vous trouvez chez vous. Prenez votre temps. Text: Design of a museum-memorial on the tomb of Hector Peterson, integrating the archives of the township exhibition hall, archives, conference room, restaurant and a landscaped area of 3 hectares.

Scenario: 1 Undulation of the skin of the bush high vegetation burned by the sun to preserve the tombstone and its destitution. Text: Construction of a 2 Sq m nomadic and stealthy habitat, Paris 10th arrondissement , October-December Private commission. Scenario: 1 Construction of a distorting-mirror vehicle. Contrary to popular belief, urine is completely sterile when it leaves the body. The kidneys eliminate substances not because they are toxic or dangerous for the body but because, at that particular moment, the body does not require them to achieve equilibrium.

Only urea is considered a waste product, making up just 2. But even this latter substance, if it is reabsorbed, transforms itself into glutamine, a substance that is beneficial for the body. The clean approach to cognitive sciences is facing our bestiality, our human loop of digestive substances and dualities;. Operating between the obscene and methods of estrangement and displacement, Parrhesia-stases interrogates the agendas of aesthetics present in repulsiveness, condemnation and punishment. And someone on the wall, is telling you about it. What happens there, behind the wall is horrid, disgusting, repulsive, offensive …obscene — however it will be her who will be accused of obscenity.

The one who tells the story, who reports it. The obscene is looking at you. The scene of course is off scene and if it stayed off scene it would not be considered off-scene obscene. It is because of that transcript that the obscene is reached. It is on this wall, on this frontier, that freedom of speech is at stake, it collapses on the other side, but it remains here ambiguous. Looking now at how the laws evolved regarding that matter, we understand the society we now live in much better. For if these matters begin with self-censorship, they are then controlled and implemented by governments through the law apparatuses, quite quietly, at first imprecisely, clumsily, almost innocently, as an administrated legal management of the self-censorship.

Nowadays reaching deplorable proportions with the self-policing of social networks, and latest offspring of the cultural hegemony. Obscene turned inside-out into showing off its own guts. But what is the object of repulsion here? It is not the totem, but the act, the weakness of the act, the surrendering to it … that is condemned. Can the obscene exist without its implied condemnation and subsequent punishment? The laws only reveal their own weaknesses towards it. Their difficulty in framing what is to be condemned as obscene is almost touching, refusing to name what is nothing else than the bourgeois moral code, the society Freud studied from within.

And transgression only eats its very definition. Let us go together behind the wall for a little while, and see what is there … secret, hidden, concealed, kept behind …. Organized around the celebration of human-beast, or the beast-human, the critical and performative borderline is used as a weapon to corrupt the repetition of the conventional routines and discourses to operate, ultimately, a strategy of transformation, of transfiguration of what is politic, of what we should consider as politic.

The new Pastoralism issue, Volume 83, Issue 3, p. See www. It describes the domination of a culturally diverse society by the ruling class, who manipulate the culture of that society — the beliefs, explanations, perceptions, values and mores — so that their ruling-class worldview becomes the worldview that is imposed and accepted as the cultural norm, as the universally valid dominant ideology that justifies the social, political and economic status quo as natural, inevitable, perpetual and beneficial for everyone, rather than as artificial social constructs that benefit only the ruling class.

On the Reproduction of Capitalism. In the following dialogue, they add to the recurrent debate: scientific idealism vs. Thanatos embodies a Georges Bataille—addicted subject, using every excuse to manipulate and extract what lies under the carpet, hidden because it constitutes scatological, improper, incorrect matter that is pushed away from the visible spectrum of daily social routine. With his pathological motion-emotion tracking, he perennially tries to demonstrate the discordance between scientific assumptions and human contingencies … proving through their respective failures, like a Nietzschean research on vitalism, the life and death drives, simultaneously … as an aesthetic of their confrontation, antinomy, and direct antagonism, navigating through the traceability of their ambiguous sweating secretions, stinky metabolization, and necrosis.

His cynicism is not cynical in the contemporary manner, but refers to E. Cioran, whose History and Utopia definitively ruins any Enlightenment idealism. Its components are made of mud-dirt-turd, the human matter leaking from the slum on pilotis to the ground below in a loop: from the fruit of the earth to its rejection by the digestive belly-village to the open-air sewage that surrounds the pilotis… now piling up to the level of the visible, the smellable.

The books in this alchemical library are burned and vectorized via the carbon residues of their ashes for an immaterial and psychotic transaction. The readers become sniffers of condensed words and particles in suspension, a kind of cultural methadone… easily accessible, stirring-stifling, barely bearable, immersive-emotional, self-suggested content. To provoke or transgress the situation, after two months of sniffing the first book was read aloud in a robotic secretion session guided by a real-time sensor interface. To some degree, the content of the writing became imprisoned in the matter as a whisper haunting the walls, the ground, and the ceiling.

Her scheme, MMYST, an experimental farm-resort in Krabi, Thailand, is based on a strategy of mutual exchange between two species — human and swiftlets — where a human shelter and an artificial bird cave are intertwined. Mutualism between humans and swiftlets is here an exchange of substances and ambiences in a scenario of reciprocal benefit. Swiftlets make their nests from strands of their saliva, a by-product of their diet of living insects, which they swallow while flying by night over the tropical forest.

This saliva hardens when exposed to air. The sounds machine clicks, joint movements, pneumatic pistons of the predictable programmed work modify in real time the path of the extrusion, a stuttering feedback coming from the intrinsic protocol of doing, increasing the intricate meanderings of the tool in an always inaccurate positioning loop. Continuing the morphology of the existing habitat, MMYST organizes gradations between several identified structures as a fragile equilibrium between animal, vegetable, and mineral lava rope morphologies ,… a way of territorializing technologies, but in a condition to be defined through indeterminate and unpredictable loopholes.

They both appear as subterfuges, thus the hermeneutic of the conflict itself is lost in this endless debate, which lies at the origins of anthropotechnics. While the projects seem antagonistic, they share the same tooling, a 6-axis robot, which becomes the system systemism of their antagonism as well as the vector, the proof, and the apparatus articulating the content of their dispute. Smelling ashes seems like the sort of useless intervention pro bono flag carriers usually do … while you take people hostage of your insane brain … Than: The slum needs trespassing, transgression, intellectual polemic … Why should politically correct moralists invade this situation?

As a feedback for your own guilt, to wash your small criminal enterprise? The mind-machine recipe calls for pataphysical ingredients, where science is used as a vector of narration and production, intertwined, in an indistinct Siamese-twin relationship, with the dependencies between metaphysics and anthropology. Remember that Leibniz never trespassed the description, the analysis, or the decoding of phenomena under the pretense of unveiling the reasons, the origins of that phenomena, considering the border between the explained and the unexplained as subject to being pushed ever further, as displacing instead of erasing itself, and therefore embracing the unexplainable as a necessity, a given.

Since the Age of Enlightenment, the belief in science as a religious credo cannot minimize the pathology of human nature nor the ontological debate between Plato and Aristotle … The scientific and industrial barbarity of the 20th century is no longer considered an error of modernity, a perversion of history, but is its cynical and intentional accomplishment.

The system is, in our case, driven by lines of subjectivity and lines of fabrication in an intricate assemblage. We cannot always regress to this old addictive antagonism and call for the forbidden as a way of liberation from the norms and rules of an ideal … I agree that the forbidden is a tool to pass through a door, but we must go further than that … Give up your moralistic view of the world!

You know the origins of this dispute, between Aristotle and Plato, between the paradigm of a supreme order only reachable through abstraction, ideas, and mathematics, and on the other hand the sensible, perception as a permanent illusion, as a work of the mind, condemning us to negotiate the here and now — always here and now — in a human exchange with matter … Whereas mathematics is an artificial projection, detached from a sensible zone, arrogant and dismal.

So you, after a century of scientific hoax, you think about going back to the mud in a medievalist escape … Very well, but to transgress the forbidden is somehow to accept it, it is working within the rule, within the system, it is even expected … and capitalism is waiting for you, nasty little pig … haha! To chew and spit you out in a smoother shape, one which can be sold.

What about reaching the absurd, where there is no such thing as the forbidden …? Guattari developed a kind of ethic-aesthetics called ecosophy. The natures of the Anthropocene are sources of feedback-backlash, of stuttering vibrations, a sort of eco-machinist-masochism, in the double paradox of Labov, observed and observing, object and subject, actor and spectator, vector of this mise en abyme. But all this is again and again about contradictions.

I prefer misunderstandings or even compromises. Misunderstanding is the condition of an exchange, not a contradiction. I would disagree with the idea of choice — in fact, I think about a sort of permanent mode of compromise, of approximate exchanges and transitory transactions of matter between species, but also between machines, contingencies of codependencies.

So what do we make of fabricated things? Are they mere illusions? Does this mean that the way we project physical reality as a reality is suspicious? An illusion of values? In this case fabrication could be assimilated to a Decameron strategy, stretching time to feed our need for illusion and embedding emotions, feelings, intentions, desires, drives … Physical objects do have a mood …! Than: You confuse workerism and speculative materialism… Using a robot is not the clue, but a vector of disalienation, of de-positivism … to complete a transaction between technologies and anthropologies, atavism, machinism, and vitalism … from inside the main discourse, from inside the expertise, which excludes and discriminates in order to create ivory-tower positions.

Than: With your supposed or pretended holistic virtue, driven by a kind of scientific neo-Rousseauism, could you explain the difference between your discourse and fashionable green-washing? In terms of attitude and meaning in a transforming climate, how could you renegotiate the substance, whether material or immaterial, objective or subjective, sweet or repulsive, to face the filthy, grimy, grubby, mucky, drossy condition of our mind? It affects the movement, the speed, and the trajectory of the machine … This indeterminacy, coming from a nonlinear input, develops the artifact by itself, the heuristic emerging shape, which uses the digital as a zone of passage able to generate conflict.

How can we confuse one monochrome with another, just because they seem similar? Are you sure Malevich could be mistaken for Rauschenberg erasing a De Kooning drawing? The fabrication of the 'prop' is developed from robotic processes. There are some machines, some desirable machines, that love to pretend to do more than they really do. Simultaneously speculative, fictional and accurately and efficiently productive, they navigate in the world of Yestertomorrowday, happily and innocently, walking briskly over the mountain of 20th-century rubbish.

They are vectors of both resistance and production, infiltrating the arrogance of the mainstream and revealing its schizoid values… The same industrial system produces both outcomes; their geneses are consubstantial, and their diametrically opposed collateral effects depend mainly on our ability to see and make visible that which lies beyond the mirror. A mind machine simultaneously transforms the real and our perception of what we consider real.

In this sense machines seem to be vectors of narratives, generators of rumors, and at the same time directly operational, with an accurate productive efficiency. I shall never get to twenty at that rate! Who said that? The term "bachelor machine" was first used by Marcel Duchamp around in connection with pieces of work that would later be assembled in the Large Glass of The exercise of our power as Nietzsche and Deleuze understood it, as a gift, a creation, and not the kind of dominance that they the machines could grant us.

The opposite of an architecture that petrifies, historicizes, panopticalizes, classifies and freeze-dries in the maze of its multiple trajectories Heshotmedown: A tracked biomass machine to penetrate into the DMZ, the demilitarized zone between North and South Korea, collect the rotten substances, the superficial coating of the forest in decomposition, and bring back this material to plug all the external surfaces of the building, in this way creating, through the fermentation of the grass and the heat its chemistry produces, a natural eco-insulation.

The heshootmedown machine collects the pathological ingredients of this period and recycles them for productive use. This element allows us to consider the direct link between these two realities Beam me up, Scotty! This architecture des humeurs is based on the potential offered by contemporary science to reread human corporalities in terms of their physiology and chemical balance.

The development of a secretion and weaving machine that can generate a vertical structure by means of extrusion and sintering full-size 3D printing using a hybrid raw material a bio-plastic-cement that chemically agglomerates to physically constitute the computational trajectories. This structural calligraphy works like a machinism stereotomy comprised of successive geometrics according to a strategy of permanent and repetitive anomalies.

Could it be only a hour flight, a glass of whisky, three meals, two movies, some writing and half a drawing away…? International magazines often depict Paris as a place where people on the street look like fashion models, provoking the Paris Syndrome: a transient psychological disorder encountered by tourists visiting Paris, and Japanese visitors in particular.

It is characterised by a number of psychiatric symptoms such as acute delusional states, hallucinations, feelings of persecution perceptions of being a victim of prejudice, aggression, or hostility from others , derealisation, depersonalisation, anxiety, and also psychosomatic manifestations such as dizziness, tachycardia and sweating. The version of the Cloud at the Serpentine [3] was no exception to the rule. Has Friedman become, through no fault of his own, an icon for fakers, architects who reek of cheap — and lazy — political aesthetics? Perhaps his image could adorn a special bar of soap sold by art centers to raise money for the disadvantaged?

It could be used for washing your hands of him as part of the collective amnesia, and take nothing from his work but the geometric inclinations and scientific and technological strategies that underpin his preambles, discarding the human, the stink, filth and comedy, to borrow a phrase from Artaud, [5] and seeing human beings as nothing more than decorative options on lop-sided cardboard shelves awaiting visitors, an attempt to summon up a soupcon of improvisation, a utopian palliative! What are we talking about here? A cultural and museological endeavor launched 15 years ago whose mission was to rewrite history, specifically the radicality of the heroic post-war years — marked by architects like Ionel Schein and Yona Friedman — until the oil crisis and the postmodern reaction put an end to that chapter.

Their brief was alluring, and historical work more necessary than ever to combat the willful blindness of the power-and-thought structure that had unceasingly ignored them in the s. That work was well done, except for one thing, and no small thing it was: The architecture and the architects were stripped of all their combativeness and friction in the face of their society, against it and as part of it, and all that was retained was the cultural and instrumental dimension see the exhibition Non Standard [6] at the Pompidou Center.

Their work was expunged of all its pathogenic elements, the sources of disorder, incompleteness and political and social unpredictability [7] that were the very reason for its existence. Doing political architecture politically, to rephrase Godard, means using aesthetic strategies diametrically opposed to the Fine Arts models of thought and transmission, i. Thus architecture is reduced to a lovely object, painless, odorless and inoffensive, drawing its legitimacy from the experiments of the Sixties, not to interrogate their meaning for today and their non-synchronicity with our times, their naivety and toxicity, but to use them as historical and cultural excuses, as a shield to protect its autonomy.

He himself went deaf to the world, literally, thumbing his nose one last time, like a mischievous kid or a kind of self-protection against abusive appropriation A dialog of the deaf. This interlacing, a rational and well-ordered superstructure, is on standby, or, more precisely, suspended, in both meanings of the word. Literally, in that it hangs above the city whose aerial interstices it occupies, but also suspended pending a hypothetical human colonization, which, in contrast, is dedicated to the free will of one and all, the negotiated interfacing of individuals and groups that determine the modes of habitation and interrelation according to their impulses and moods, or in other words, to the disorder of human activities and the incompletion of the desires of the multitudes.

It is not a symbiotic symbolic protocol, and there is no mutual affinity between the elements.


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  • Who the Man.

The hierarchized chronologies of systemic-systematic permutations are not produced by the principles of contagion and epidemics [10] that would phagocytize and dissolve the previously established geometries. The contact and development of the disordered entanglements of the human, all too filthily human multitude does not metabolize scientific causality. Thus one becomes a member of the now hyped and has-been sect called radical architecture. Are human relationships so tricky to take into account that they have to be ideologized, idealized, carefully eschewing and excluding their excessive nature, the combinations of misunderstanding, conflict and resignation that produce meaning and thought at the price of the defection of the latter?

Just let yourself feel it and react. In an unstable, tenuous equilibrium… you felt this dizziness like something that is still inhabits you… the void is right there, under your feet. Synchronized to your own body, your arteries, blood and genitals, to your beating organism… and you are a thing, an element amid that whole ensemble, porous, able to merge, respiring and aspiring to be your own environment.

Please leave the way you came in [13]. Very different than the petrified Turbulences made after an unbelievable second round, a kind of administrative prank. Developed by the mathematician Monge in the 18 th century. The program asked individuals for their special preferences, and then analyzed and processed this data based not only on the desires of their neighbors, but also light, access to ventilation, etc. He finally abandoned this project because he deemed that his computer could not understand the twists and turns and complexity of the process of human decision-making.

It means staging a break-in to the logic of things when language has to negotiate with the depths of the body, down to the bottom folds, like with Antonin Artaud and his compulsive catatonia. This physiological test above works like an emotion detector. It only takes seven minutes. The protocol is simple. During the test, a sort of vapor of nanoparticles is emitted, so that we can detect the evolution of these emotions without noxious intrusion. They told me so What am I to do now with the life of agreable fakery that binds me, in claimed feebleness, to things and to people, to suspect humanity.

We could wonder about this Log is so cheap Here everything comes together and interlocks. Step right up, Boys, Girls, and Androgynes Let yourself get carried away, to see and tell what connects us, the people behind this Log , but also all the rest, the ones who stir up trouble and take shelter in these friendly, territorial, womblike refuges where you can circle around in the ill winds that blow through congregations and metropolises, in all those places, those little hotspots. It comes in the form of a human group, a re-peopling of the social structure in the form of a dream.

A dream of social climates, empty lots, existing forms of nature and people and enhanced intimacy. It alters what exists, it marks out vanishing lines, subjectivities, it throbs in the form of local stories and languages, little tales, the stuff of fables and narratives garnered by tacking together and tinkering. Not really ready to buckle under and keep its mouth shut. Eventually, the weed gets the upper hand Grass is the only way out The weed exists only to fill the waste spaces left by cultivated areas.

It grows between , among other things. The lily is beautiful, the cabbage is provender, the poppy is maddening — but the weed is rank growth It tinkers, recycles, reconstructs in all historical senses of the term. The rhizomatic bad seed sown by the two philosopher friends that stocks us up again. It proceeds by variation, expansion, and conquest, via crossing points, recycling, adaptation, capture, embrace, tweaking When everything has once and for all suddenly descended into anything goes, the deep freeze, urban guerilla warfare, and the rest of the whole shamozzle, there remains that sixth sense, nerve endings and defensive reflexes.

It lives in broad daylight, not in the shadows, because the shadows are a refuge for jumpy activists living in the comfort of their ideals Quite the opposite R2 [7] In this violent antagonism, within the hollow of this personal disorder, this personal confict, we are facing two worlds facing each other: WEF versus WSF, Davos [8] versus Porto Alegre [9] How can the architect, artist, scientist, writer, and citizen absorb, swallow, and digest this Janus-like condition without favoring one over the other?

Log 25 explores ways to navigate this antagonism, which could be negotiated in an un certain and ambiguous manner Contradictorily, the discipline of architecture in the time of now feigns ignorance of this genuine conflict, and concurrently legitimizes more and more its identity, or the illusion of an identity, at a condition of noninvasive, nonsubversive, nonpolemic, nonpolitical consequences.

It is only in strategies of conflict, opposition, indignation, and occupation that the capitalist structure, an ectoplasm with an adaptable and variable geometry and contours, agrees to renegotiate its transactional modes But for this malleability to operate, we first have to run the risk of confronting it, causing it to crack, biting it, in close combat, using tactical strategies of visibility and fallback This particular form of masochism, which is not so much masochism as it is acceptance of the sadism of the system, is actually, height of irony, seen as In these conditions, and by default, it would be prudent to ask ourselves about the legal framework of such a submission, of the protocols of Sacher-Masoch, and even to define the mechanisms of exchange, domination, enslavement, eroticization and suffering, as a potentially contractual support element of this same transaction This is what the ecosophy of things, substances, and beings is A last vestige of a time when nature did not allow itself to be tamed or ruled Faced with the autistic, blind, deaf and dumb violence of our mechanisms of technological, industrial, mercantile, and human domination, nature reacts Gaia seems to take its revenge.

The Forum organizes its annual meeting in Davos, a mountain resort in the eastern Alps region of Switzerland. The meeting brings together some 2, top business leaders, international political leaders, selected intellectuals and journalists to discuss the most pressing issues facing the world… as it should be. Some consider the WSF to be a physical manifestation of global civil society, as it brings together NGO, advocacy campaigns as well as formal and informal social movements seeking international solidarity. The WSF prefers to define itself as "an opened space — plural, diverse, nongovernmental, and nonpartisan — that stimulates the decentralized debate, reflection, building exchange, and alliances among movements and organizations engaged in concrete actions toward a more democratic and fair world This coping may result in the individual "bouncing back" to a previous state of normal functioning, or using the experience of exposure to adversity to produce a "steeling effect" and function better than expected.

Resilience is most commonly understood as a process, not as a trait of an individual. Yet this new designer is very different from the old. Jean Khalfa London: Routledge, It is no innocent matter, either, that the critical systems in charge of questioning their validity simply offer them a helping hand, fascinated by the power that these great strategists grant them in return for their dependence. But the new world knows only resistance.

When I bend in order to avoid accepting the rules of their authority, I am destroying the foundations, I am insulting their legitimacy. There is rage in the face of my madness, a ferocious rage as if they found themselves faced with an act of revolt. Timothy S. Murphy Minneapolis: University of Minnesota Press, Timothy J. Armstrong New York: Routledge, Unsure which way to go, it has vascillated between the moral conservatism of the baby boomers and the forward thrust of Gucci-style consumption. The false footsteps of Bibendum the Michelin tyre man in the dirty dust of the moon that day in July marked an end to our entropic flights of fancy.

The books of Neal Stephenson, William Gibson, Bruce Sterling and others, while marketed as speculative fiction, were in fact live broadcasts; the funhouse mirror that the genre tended to create, between the space of the imagination and the space of our daily lives, expanded throughout a universe of plausibilities. It melted into the news, in all its social dimensions. Astonishingly, Science fiction has shifted neither forward nor rearward, but into the here and now.

The unfolding scenarios it follows to manipulate our reality are becoming true transformation tools and paradoxically strategic levers to grasp the wobbling of our post-digital societies: our choked mass-media culture. To reclaim the scenarios and substances that condition architecture and reveal the contradictions and fantasies that drive our societies, we need, on the contrary, to draw on this vibrating, disquieting and voluptuous temporality.

It can only be negotiated live, in its contingency on a situation and its solubility in a set of givens. This critical and territorialised attitude is in sharp contrast to macro-cynical flights of fancy the market creates the form! Our tools for the codification and transformation of territories do not work through an ideal projection, but through a local inventory: a mutant and tangible biotope, issued from the generalised bankruptcy of urban thought 11 and its deception. This ambiguity gives rise to our unstable and unique scenarios.

The folded rhizomes of Guattari and Deleuze were a point of fusion and arborescence to attain a plateau, 12 a terra incognita, to break out of the grip of those who declared that they had discursive, pedagogic and linear authority. Science fictional 13 architecture is not a cultural remake of the Altered States 14 variety for the elite. Recognising the new principles of reality, it is a space of confrontation, ceaselessly investing itself in new procedures for the reprogramming and re-scripting 15 of existence, here and now. By necessity, it confronts its emergence, its Gestalt, and can only be negotiated in the visible spectrum: that is its political and operational condition.

We can only harvest its often strange fruits. The following apparatuses have to be considered as a few paradigms to approach and touch narrative and subjective protocols. Machines have been always pretending to do more than what they were programmed to do. It is their nature. Their behaviour alternates phantasms, frustrations and fears inspired by their own ability to break free and threaten us. Machines are a vector of narration, generators of rumour, and at the same time directly operational, with an accurate efficiency of production. In this way, machines become agents of blur logic, of a reactive and reprogrammable logic.

In a sense, we should consider the structure itself as a fragment of a scenario, as a MacGuffin: the point where and from which speeches, strategies, scientific protocols and power games articulate stories and agendas. Without certainty that our history will pass by this point, some of the machines are developing their own necrosis: their predictable death, even their unreality, to bring an intrinsic process of erasing in their emerging nature.

In this way, these apparatuses appear through an architecture that seems to come from a transitory strategy: from an operative, fictional and speculative scenario, which rearticulates the relation of a situation with an environment and eventually its own un-reality, re-questioning the values of its identity.

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Contemporary history has proved the accuracy of his schizophrenia. In order to track our environment, physical sciences born out of the study of turbulence, vibration, disequilibria and probability have taken the place of the linear sciences where things are viewed as following a quantitative and determinist path. The conditions for survival at the North Pole, including Soviet nuclear waste materials carried by the Artic Stream and the carbon effluence of the Gulf Stream, have allowed us to observe the first natural mutation.

This dual attitude protects us from ecologist alibis, primitivist dreams of purity and of the Heimat, as well as from becoming enslaved to the mechanisms of the tabula rasa. Architecture consists of revealing these two contradictory dimensions in their constant tension.

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Reminding us that hell is full of laughter, we could call this cataclysm where everything bad is foretold in dark humour, a black utopia. But, why not? The vulgarity lies in their duplicity. They may be in Lagos, at Prada or at a floating Pavilion, yet they want to lecture us about political consciousness. Another aspect comes from its situation between two different and even contradictory states.

Complexity is not driven by autonomy, but by reactivity, and cannot take into account all that surrounds it. It is in this sense that disturbances of identity, stealth and hybridisation become modes of operation. This is reflected in our own indecisiveness, our inability to choose between options and make do with them. And the hue of the skin of the figure was of the perfect whiteness of the snow. These were physical facts, not imaginary phenomena … This massive shape the shrouded figure was nothing but a colossal magnet… whose power produced effects as natural as they were terrible.

Because of its low altitude and changes in the oceanic water level due to global warming , a plan for its evacuation has been formulated as an objective given. Beneficent nature had nothing to do with it; conscious human effort, and cooperation, had built Stateless … the balance could be disturbed in a thousand ways …. All that elaborate machinery had to be monitored, had to be understood. It was true. Why would we seek to be right when there are so many people who carry the banner of morality? They are legion, as dangerous and common as criminals.

A constantly mutating sequence of possibilities. Add a morsel of a difference and the result slips out of control, shift the location for action and everything is different. There is a fundamental gap between societies that base their development on scenarios and those that base their development on planning. The architect shoulders the unshared risk of putting out an unprecedented scenario, thus generating a particular and unique configuration. Wearing neither the halo of a Don Quixote nor the mantle of romanticism, this attitude only emerges after sticking his neck all the way out.

You have to give him credit for that. Enslaved by this mode of consumption and distribution, they travel in packs so as to assuage the guilt they feel as predators. Architects corrupt discourse, manipulate competition, make morality their banner and social responsibilities into an amulet or agit-prop. They live and breathe the profound hypocrisy of human nature, with which they are consubstantial.

Space is their playground, their control and coercion lever. Liberal modernity needed a morpho-psychological profile that transcends their alienation to make others — the innumerable — submit to those who know nothing. Architects are also those who metabolize the irreducible novelty of the architect for society as a whole, even if that means the annulment pure and simple of the novelty in question. Thus architecture undergoes a two-fold process where the architect builds architecture individually by tracing ideas, while only rarely able to make them emerge in the strata of the real.

There is a real struggle between the creator and those who vectorize or even copy. The latter sew up the new because it is socially non-metabolizable in its raw form. In short, the imitators come up with a copy that plugs the fissure opened up by things never seen before. Thus there are two kinds of creative activity, creating new things and absorbing them, summarily or maladroitly replicating them, in order to socialize them in a post-consumption universe.

The architect works right in the centre of architectural time, in real time, while architects work in the heart of its history, in delayed time.

French-English Dictionary (35,273 Entries)

Thus what is called the history of architecture is really a history of this differed time in architecture. It is because they have been transformed into commodities that new things can be reformatted as products and utilized, annulled, employed, socialized, hijacked, tamed and in general manipulated, especially by media capitalism. We can assume that there are two antagonistic impulses in architecture, one critical, putting forward things without always being able to build them, and the other collaborationist, appearing and working with the powers that be, the administration and its techno-structural forces.