GREEN CULTURE – The conception of nature as matter to be objectified by modern science or as an inanimate resource at our disposal is currently being disrupted by ecological, ethological, anthropological and philosophical research. Because of global warming, nature is simultaneously entering the political scene. Ironically, the urgent need to reassess our relationship to nature is surfacing at the very same time that we are losing its concept. The books addressed in this article combine art and theoretical thought. They function as explorations that both try to outline the kind of nature we are leaving behind and the possibilities we could be traveling towards. Along the way, we might also lose a certain type of humanhood: who are we becoming, and what is our place in this coming nature? All these questions are asked by these recent publications. Continue reading
We‘ve never been modern, objectivity, illusion and truth in visual art. It would be impossible to accurately assess, or even, at times, to follow the individual arguments made in all of the four books presented here, so widely do the authors draw upon the history of ideas, the history of institutions, the history of the visual arts and epistemology, in different places and periods from the dawn of the birth of art to the present. (review of 4 books on this subject) Continue reading
The reception of a piece of art as an object of exchange and mediation requires several ‘go-between’ in a context of language and culture learning. In this article, we would like to highlight the teacher’s mediation as well as the learner’s one and examine the emergence of verbal and body language in academic multicultural courses of French as a foreign language, in which visual and choreographic works of art are introduced. We will show, through the thorough analysis of a few examples, to which extent the teacher, by stimulating multimodal experiences of mediation for the learner, fosters the construction of interactional and intercultural competences.
Testo (Ing. & Fr.), F. Scott Fitzgerald; photo e arte Zelda Fitzgerald, sua bellissima moglia. For what it’s worth… it is never too late, or in my case too early, to be whoever you want to be. There’s no time limit. Start whenever you want. You can change or stay the same. There are no rules to this thing. We can make the best or the worst of it. I hope you make the best of it. I hope you see things that startle you. I hope you feel things you never felt before. I hope you meet people who have a different point of view. I hope you live a life you’re proud of, and if you’re not, I hope you have the courage to start all over again. F. Scott Fitzgerald
Si tu veux mon avis il n’est jamais trop tard ou dans mon cas trop tôt. Pour être ce que tu as envie d’être. Il n’y a pas de limite de temps, c’est quand tu veux. Tu peux changer ou rester la même. Il n’y a pas de règles pour ça. On peux en tirer le meilleur ou le pire. J’espère que tu en tireras le meilleur, j’espère que tu verras des choses qui te secoueront. Que tu ressentiras des choses que tu n’as jamais ressenties. Que tu rencontreras des personnes qui ont un point de vue différent. J’espère que tu seras fière de ta vie. Et que si tu découvres que ça n’est pas le cas, j’espère que tu auras la force de tout recommencer. F. Scott Fitzgerald.
Eur, dove la Roma che scopriamo è degna di un set cinematografico, un set creato e organizzato per un film girato di più per un film girato più di 70 anni fa. Questo film è stato il fascismo, e il suo creatore, regista, sceneggiatore e attore principale era nientemeno che Benito Mussolini. Gli elementi fascisti della piazza sono monotoni, pretenziosi, rude rudi e massicci. Il luogo era solo puro oggetto di propaganda, un modello politico d’arte un modello di arte politica che cerca di mettere insieme i le tre Roma (Romana, Cattolica pontificia e fascista romana, Cattolica pontificia e fascista) e di presentare il Duce come il nuovo Augusto.
Affini e antitetici, critiche di sul potere, spesso intenzionalmente ironiche, celebrazioni delle gesta di calcio di Roma per Lazio delle prodezze calcistiche della Roma sulla Lazio e viceversa, dichiarazioni d’amore pieni piene di poesia o più semplicistiche, ma anche iscrizioni offensive, a volte fascisti fasciste o razzisti razziste, i muri di Roma sono una superficie infinita su cui il cittadino romano si esprime fin dai tempi di Cesare. Continue reading
Suzan Pulles – Silence
Anaïs Nin “When we totally accept a pattern not made by us, not truly our own, we wither and die. People’s conventional structure is often a façade. Under the most rigid conventionality there is always an individual, a human being with original thoughts or inventive fantasy, which he does not dare expose for fear of ridicule, and this is what the writer and artist are willing to do for us. They are guides and map makers to greater sincerity. They are useful, in fact indispensable, to the community. They keep before our eyes the variations which make human beings so interesting. The men who built America were the genuine physical adventurers in a physical world. This world once built, we need adventurers in the realm of art and science. If we suppress the adventure of the spirit, we will have the anarchist and the rebel, who will burst out from too narrow confines in the form of violence and crime.”