At first glance such a title seems antinomic. Obviously we accept the fact that there exists a relation, frequently conflictual, between the press and public authority, without mentioning other media; but art continues to represent, at least in the mind of the public, a privileged domain which, though subject to frequently abrupt and brutal changes, benefits nevertheless from an “innocence” distinguishing it from other activities. Visiting the Louvre in Paris, the Uffizi in Florence, or touring the Loire valley châteaux are (...) all so-called cultural activities pursued “simply to develop the personality.”. (shrink)

It is to an over-all situation based upon the complex play of political, social, economic and scientific factors, along with technological and mass media factors unique to our own era, that we owe the general trend toward multi-pluri-inter-trans-disciplinary questions so generally prevalent in our world today.

For thousands of years communication has functioned principally by means of linguistic and iconic messages. In the first case linguistic symbols serve as intermediaries; in the second, images or, more broadly, representations. In order to be transmitted, linguistic and/or iconic symbols need to be re-produced, re-presented, vocally, through writing, painting, sculpture or any other means of re-production. But re-production requires a space that, through use of an appropriate material, serves as its medium; forms to occupy it; rules to control it, (...) and a certain stability. In other words representation is impossible without a certain fixity of the message that alone can ensure its duration, whether short or long being unimportant, but which it needs precisely in order to function as a message. (shrink)

For thousands of years communication has functioned principally by means of linguistic and iconic messages. In the first case linguistic symbols serve as intermediaries; in the second, images or, more broadly, representations. In order to be transmitted, linguistic and/or iconic symbols need to be re-produced, re-presented, vocally, through writing, painting, sculpture or any other means of re-production. But re-production requires a space that, through use of an appropriate material, serves as its medium; forms to occupy it; rules to control it, (...) and a certain stability. In other words representation is impossible without a certain fixity of the message that alone can ensure its duration, whether short or long being unimportant, but which it needs precisely in order to function as a message. (shrink)

The term is heavy, I admit, but I am adopting it provisionally on the grounds of a double affiliation.* On the one hand it refers to the sign-board (enseigne), a panel bearing an inscription traditionally announcing an artisan's trade; on the other hand, I relate it to the recently gallicized term “enginry” (ingénierie), which evokes, beyond the activity of the engineer, the ensemble of appliances and mechanisms made use of by industrial society, and at the origins of which one discovers (...) the term engine (engin) in its double etymological acceptance as tool, instrument, and also as ruse or wile. By signery, a term which I put forward provisionally, I thus designate the ensemble of signs, signals, inscriptions, and visual stimuli manifested in our modern cities. (shrink)

All societies are made up of members who have a certain number of things in common, by virtue of which they understand, identify and communicate with each other, on the one hand, and establish differences with members of other societies on the other. Among the most important of these things is language.In this regard, let us recall two examples raised by Ferdinand de Saussure. The first: “Language is both a social product of the faculty of speech and an ensemble of (...) necessary conventions adopted by the social body to allow for the exercise of this faculty in each individual.” The second: “Speech, distinct from language, is on the contrary an individual act of intelligence and will … by which the speaking subject uses the code of language to express his personal thought.”. (shrink)

A riddle or a joke? I regret having made light of both myself and the reader. However, the concept of complexity has been explored with such intensity and pedantry, has been analyzed from so many points of view – the mathematical, linguistic, physical, chemical, political, psychological, sociological, physiological, algorithmic, logical, religious, and metaphysical – that nothing, not even the title of this piece, can escape it. Indeed the situation has reached the point where we grow misty-eyed over the very thought (...) of the discrete charms of yesterday's simplicity. Sometimes we dream that complexity itself, after having given us so much, muses – now that its task is fulfilled – of flying up miraculously into the sky, like the Virgin Mother (the Assumption); or ourselves wish to experience – for those spirits who prefer to keep their feet on the ground(!) – the “dissolution” with which entropy begins. Isn't it true that certain words, marked by the spirit of their age, are themselves in fact carried away by the spirit of the age? (shrink)

In our times changes occur so rapidly that our modes of reading even more than our modes of analysis risk being inadequate, or in any case risk lagging behind. If we wish to analyze relations between the arts and the media, the danger is in fact that we will limit ourselves to established notions or even to stereotypes which are commonly accepted by the general public. Even for persons with some awareness, information remains lacunary. Moreover, like the experts, or those (...) who pass for such, it seems that it is difficult for them to avoid a personal conception, implicit or avowed, which does not fail to influence their judgement. This is almost always the case when the matter of art is raised, even if we take the precaution of placing the term in the plural. Whether one wishes to or not, there is hardly an example where certain preferences do not make themselves known. If it is easy to reach agreement with regard to the facts, it is less easy to agree on their interpretation, especially when values are at stake. Hence the necessity to proceed by different steps and explanations to explain the relationships between arts and the media. (shrink)