abstracts

This study combines the old-continental epistemology to the American pragmatic, presents a vast synthesis of research and industrial solutions in all computerized media, based on an immersive hypothesis that postulates the parallelism between the evolution of the media and the evolution of computer peripheral devices. It updates the cybernetic epistemo-praxeology in terms of neurophysiology: Media are outsourcing the bio-cultural self-coevolution where the subject co-evolved with the environment created by his own gesture. Their current progress is not the development of devices but the development of sensory ergonomics capable of producing intracranial effects of adherence to the narrative and fictional figures. This technological trend culminates in the phenomenon of re-analogisation, consisting of bio-inspired solutions, faster than binary algorithms, and self-adapting face to the unpredictable changes. The re-analogisation is parallel with the proliferation of communicating immersive environments that are discussed in terms of concepts of naturalization and environmentalisation.

According to this study, the spectator is currently acquiring new capacities to follow and to assimilate the moving image. In the last fifteen years, designers in the iconosphere have continued to make progress with the development and expansion of the media of visual narration. This advance is not only the result of past artistic experiments, but is above all rooted in such phenomena as the adaptation of urban populations to dynamic iconography, the proliferation of visual information, the emergence of interactive practices, such as channel surfing, the Internet search, mobile phone interfaces, as well as the visual interfaces for operating vehicles and other machines. These new ways of consuming images and sounds have fueled an expansion of new multiscreen designs that will gradually make the dark theater projection and the single-screen device obsolete.

This book is the first monograph devoted to Ernesto Riveiro. You can discover the richness and complexity of his work with multiple ramifications. It includes a study of Marcin Sobieszczanski a contribution of Philippe Cyroulnik and numerous illustrations. Ernesto Riveiro was born in 1947 in Buenos Aires, Argentina, which he left in 1972 to settle in France. The work of Ernesto Riveiro is characterized by a persistent pattern of the object that can have a poetic votive or magical character, and by a large production of paintings and drawings in which figures and landscapes are like appearance instants in the movement of the gesture, the line and splash of colour.

Space is the foundation of all eventness. It is by means of spatial relationships that any organization - as biological, perceptual or active - reacts to its environment. But how to make the thought of the living space a tool for understanding of our expressive and emotional attitudes? From Alberti, Wölfflin and more recently with Panofsky or Damisch, has reinforced a tradition endeavoring to bring the objects of symbolic space to a conceptual matrix whose number of spatial attributes are the fabric. One of the challenges of this reflection with many voices, conducted as part of the work of the research team on Cultural Mediations and Communication Technologies (MEDIATEC, University Nice Sophia-Antipolis), is to question the status and the reality of "Space metaphor" at work in the humanities.

One suggests a path toward a cognitive aesthetics and a set of four studies where this aesthetics appears as methodology and key of the interpretation. Art is perception, for its material is the perceived world, its quest is of making present the existence of this original perception, and its result is the object designed to being perceived. One exercises a median way between 1) the gnoseological dualism of Kant (the appreciable donation of things assumed by the understanding mind), enclosed by some aspects of the thought of Husserl in the solipsism of the absolute consciousness, 2) the absolutism of the Mind equalled with the subject of the romantic. The sense is deducted at the same time from 1) some physical and phylogenetic processes of the establishment of the conscience of the world, 2) morphological appearingness, thought by a philosophy which is structuring the results of the cognitive sciences. Art is a doxothetic attitude carrying on the perceptions of the world and operating on the basis of an ontology of the personal, concrete and temporary. One oscillates, therefore, between the approach of the art in the setting of Husserl's problematic of constitution and the post-phenomenological one of ontology. One studies : In Dlubak, the problem of the section that operates the physical limitations of the look on the spatial situation of the tri-dimensional object and of its projection in the subject's direction. In Bury, the morphogenetical effect of time in the change of a blackening graphic photo deposit viewed mereologically. Beyond all modes, the artist clings to the investigating of the irradiation that exercises the world on the perceiving subject. In Riveiro, the back-up tentative of pictorial corpus by the relinquishment of the framed picture, to the benefit of painting, like a fluid process marrying multiple circulating panels together. A visual ecology enlivens the endless process of the painter. In Caillaud, who combines the painting of chromatic random paradigm and the digital dynamic, one observes a "window to chronochromatic phenomena" where algebra and color go together. So, one considers, not the differences between techniques, but the technical differences existing between the various equivalences that the artists constitute as operational in the mediation of their intuitions and of their ostensive techniques.