Presence

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Digital presence or tele-presence—terms which refer to presence from a distance—can be defined as the relational experience of feeling another person, the speaker, as being (psychologically) present when they are (physically) absent. This experience—which manifests as individual and collective feelings in digital practices, as well as in the common language that structures and socializes practices themselves—has resulted in technological components and behavioural aptitudes affecting mediation devices, used for presentation and communication, which our society is currently utilizing until the introduction of as yet inconceivable forms of presence.

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Projet Profil

Initially conceived for strictly practical reasons, users’ profiles have little by little become unexpected spaces of self-expression and writing. This project aims to understand this new profiling structure, in order to analyze the theoretical and aesthetic issues at play.

EDIT

Marcello Vitali-Rosati, « The Chiasm as a Virtual - A Non-Concept in Merleau-Ponty’s Work (with a Coda on Theatre) », in Merleau-Ponty and the Art of Perception, North Carolina University Press, 2016.

Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining.

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