What is palabre? Not only an exchange of words, but also a social drama, a procedure, and set of human interactions. Palabre is therefore a putting into scene, a putting into order, and a putting into words.

Spanning the course of three millennia, the art of ancient Egypt stands out for its unique continuity. The fundamental rules of Pharaonic art were established around 3000 bc. The proportions of the human body, the style of cubist representation in relief and painting, the division of a tomb or temple wall into strips, and the adaptation of diverse forms into simple hieroglyphic images remained the principle elements of Egyptian art until the Imperial Roman era.

When the “object” gazed at is called Africa and when the gazing subject is Africa, the observer cannot help but conclude that any gaze that is related to Africa is an intersection of gazes calling forth several questions: Who is looking at Africa? What is Africa looking at? Who looks at the one who is looking at Africa? Two problems emerge from this: the identification of the subject, and the discrimination among objects and themes produced by the limited scope of (...) these gazes. If the gaze at (or of) Africa is an intersection of perspectives, these perspectives will only find stability if they are related to the African history that is in the making. This is a plural history, for geographic diversity, and the multiplicity of acting figures and sociopolitical organizations give African history a “changeable and diverse” character. Any evaluation of the relationship of Africans to their history must be an attempt, a sketch that makes no pretense of providing a unique and certain interpretation of the African lived experience (Erlebnis) by implementing the kind of controlling philosophy of history that fixes the beginning, the length, and the order of a people's history. It is more a question of restating, with the uncertainty that characterizes any evaluation of a specific history, the problem of the relationship of African history to its becomings. How, by which conditions and through which actors does this plural history speak its moments of creation today? At its heart, how does it articulate the conflicting overlap of the gravity of existing institutions and the audacity of creation? The exploration of these questions first centers around the often discussed theme of African identity (self). The stakes at this level involve the detachment of the conditions of a dynamic re-appropriation from this notion of identity - at the very moment when globalization is conjugating itself by turns in the imperative, the indicative, and the conditional. Next, the examination will focus on relationships to otherness (the other). How can intersubjective relations be declined differently? (shrink)

The word “virtual” comes from the latin virtus, virtue, which itself comes from the latin vir, man. As for the word “real” it comes from the latin res, thing. One could say that the virtual is the man and the real is the thing. How does one resist the temptation of placing the virtual in opposition to the real, as a metaphor of the man who places himself “in” the world and who confronts things? The virtual opposes the real, as (...) man does the world, in order to transform it and even transcend it. (shrink)

Like any other part of the world, Africa is not immune to the intermingling of cultures and civilizations, heritages and horizons, the endogenous and the exogenous, knowledge and imagery. The effects of new communication and information technologies, which still remain the privilege of a minority of political and intellectual elites, cannot conceal the far more profound transformations and reconfigurations that characterize its societies and cultures.