Invention

The study of this paper will describe the perspective view of legal issues and propose the alternative approaches to protecting software. Some legal issues like copyright, patent and trademark are used for providing the security to the data and computer software. The main motive of this paper is to aware all the authors about the protection of data and their programs.

[AMAZON LINK BELOW TO BOOK ITSELF -- TOC and book intro in downloadable .pdf] 

"It is a common experience that a problem difficult at night is resolved in the morning after the committee of sleep has worked on it." --John Steinbeck Scientific research confirms what people have always known: answers, ideas, and inspiration do come to us in dreams. Harvard psychologist and world-renowned dream specialist Deirdre Barrett, Ph.D., offers this rich collection of examples of how the world's most creative practitioners in art, music, film, science, literature and other fields have used the revelations of their dream life to inform their work. Dr. Barrett offers insights showing us how to encourage lucid, meaningful dreaming, and how to apply the meanings of our dreams to solving problems--from the everyday to the extraordinary. This is the stuff dreams are made of. In the visual arts, Jasper Johns couldn't find his unique artistic vision until he dreamed it in the form of a large American flag. Salvador Dali and his colleagues built the startling new genre of surrealism out of dreams. Kubla Kahn dreamed the design for his stately pleasure dome; thousands of years later, Lucy Davis, chief architect at a major firm, continues the tradition of dreaming designs into life in her extraordinary buildings. Film is a fertile avenue for dreams: "Twice I have transferred dreams to film exactly as I had dreamed them," confides director Ingmar Bergman, as have Federico Fellini, Orson Welles, Akira Kurosawa, Robert Altman, and John Sayles. From Mary Shelley's terrible nightmare, which became Frankenstein, to Stephen King's haunting dream as a little boy, which led to his first bestseller, countless writers have consulted the Committee. Musicians from Beethoven to Billy Joel and Paul McCartney have whistled the Committee's tunes. In science, physiologist Otto Loewi dreamed the medical experiment that earned him the Nobel Prize. In sports, Marion Jones dreamed she'd broken a world record, then brought the dream to life. Gandhi translated his dream of resistance into a movement that changed the world. Since Freud, we take it for granted that our dreams reflect our past. In The Committee of Sleep, Barrett reveals how dreams can also tell us about our future potential--and how to reach it.

Randomness presents a limit for human knowledge. As such, it enters in contradiction with the modern definition of architecture as an art of measure and order, operating through quantification contrathe fuzziness and complexity of the physical world. When it comes to buildings, it is undisputable that architecture should provide shelter against all contingencies, anticipating aleatory physical phenomena. However, today’s insistence on the notion of risk – be it ecological or financial – and on the necessity to limit or suppress it, presents architecture with a different issue, that articulates knowledge and control as two sides of the same coin. The simultaneous increase in the quantity of available data and the finesse of probabilistic models produces a refined understanding of the world, as the capacity to analyse and simulate complex systems promises to reduce the unpredictability of phenomena. The computational power at hand nurtures the idea of a potentially absolute mastery of parameters, be they physical or human, thus allowing exercising control throughout spheres and scales, through self-managed systems of predictions, as “smart” urbanism exemplifies.
How can randomness and unpredictability be understood as objective chance rather than risk? What architectural mechanisms can allow dealing with life, understood as contingent, without capturing it? Hence, how can architecture consider randomness as a generative principle, not against, but connected to computational procedures? This paper will articulate the notion of randomness with that of architectural invention. It will do so by discriminating amongst the different uncertainties – epistemic and aleatory – while discussing understandings of randomness as a creative principle, through the work of Poincaré and Monod. Focusing on artistic and architectural works from the 20th and 21st centuries, it will consider randomness not in dialectic opposition to order, but as a poetic questioning of the immutability of the norm and of predefined architectural categories.

Based on library research and observation, this paper aims to introduce the police procedural as a subgenre of the detective genre. To achieve this aim, this paper elaborates three definitions of police procedural. The discussion shows that experts have apparently provided a working definition of the police procedural after having identified how the new variant is different from, and yet remains the same as the "parent" genre. While the third definition puts emphasis on the authentic and realistic aspects of the police procedural, the first two definitions can be used as a reference to elaborately discuss the police procedural as a variant or subgenre of the detective genre. The police procedural retains the basic conventional elements of the detective genre-plot and motifs, character, setting, theme, and props, but it twists these elements and turns them into an invention with the intention of keeping the interest of the readers and viewers. Having established itself as a subgenre, the police procedural has grown to become formulaic by creating its own conventions. It is a formula that is generally employed by writers and has come to be expected by readers or viewers. By doing so, the police procedural has helped the detective genre as its "parents" genre stay popular.

The study of this paper will describe the perspective view of legal issues and propose the alternative approaches to protecting software. Some legal issues like copyright, patent and trademark are used for providing the security to the data and computer software. The main motive of this paper is to aware all the authors about the protection of data and their programs.

The economic value of a patent is reflected in its enforcement. If the patent owner suspects an infringement of their patent, they may react more or less aggressively. The German law distinguishes in particular between the softer notice for production of legitimacy claim (Berechtigungsanfrage) and the stricter cease-and-desist letter (Abmahnung), which can be sent to the potential infringer prior to the initiation of legal proceedings but are not mandatory. Recently, the Düsseldorf Appeal Court (Oberlandesgericht Düsseldorf) had an opportunity to look more closely at this distinction (OLG Düsseldorf, judgment of 6 March 2014, Case No. I-2 U 42 /13) - and pursues a strict policy.

Gilbert Simondon's philosophy offers fruitful resources to approach the problem of the relation between man and digital networked technology. However the validity of his method is significantly undermined by the seeming lack of a rigorous critique of political economy and by the strong normativity at the core of his idea of technical invention, which makes it difficult to adapt Simondon's thought to the all-encompassing capture of cybercapitalism. In order to overcome this impasse I propose to look at capitalism as an aspect of the individuation of the ensemble constituted by man and nature, made possible by specific techno-cultural interfaces – precisely, the technological evolution of the medium of money. Key to this is the relation between power relations and signification, or sense – that is, the way that a certain kind of making sense of the world allows in turn for certain formations of power, and vice versa. Further, by retaining the primacy that Simondon attributes to the technical as productive of epistemological and ontological ground, I propose that the normativity that is generally criticised in Simondon's philosophy can be productively reworked as a theory of value, precisely by availing of his concept of technical invention. The technical effort that allows for the coming to existence of invention allows to uncover gaps of resistance to the smooth extraction of coded information operated by cognitive capitalism, and to highlight
occasions of reversibility of the sense of power, as the recent invention of electronic cash demonstrates.

PDF available at: https://platformjmc.files.wordpress.com/2015/04/v6_lotti.pdf

This volume explores abductive cognition, an important but, at least until the third quarter of the last century, neglected topic in cognition. The book aims at increasing knowledge about creative and expert inferences. The study of these high-levelmethods of abductive reasoning is situated at the crossroads of philosophy, logic, epistemology, artificial intelligence, neuroscience, cognitive psychology, animal cognition and evolutionary theories; that is, at the heart of cognitive science. Philosophers of science in the twentieth century have traditionally distinguished between the inferential processes active in the logic of discovery and the ones active in the logic of justification. Most have concluded that no logic of creative processes exists and, moreover, that a rational model of discovery is impossible. In short, scientific creative inferences are irrational and there is no “reasoning” to hypotheses. On the other hand, some research in the area of artificial intelligence has shown that methods for discovery could be found that are computationally adequate for rediscovering – or discovering for the first time – empirical or theoretical laws and theorems.

Content Level » Research

Keywords » Abductive Cognition - Cognitve Systems - Human Cognition - Hypothetical Reasoning

"The concept of improvisation has become increasingly popular in the discourse of organizational theory. This paper explores the several aspects of improvisation, in the context of musical, organizational, and everyday activities, in order to address some of the philosophical issues relevant to this emerging interest. It addresses, for instance, the way the term improvisation has fallen into disrepute, referring to something that is, ultimately, a pale and messy copy of the ‘correct’ way. It argues that in western music, this can be traced to the modernist valorization of the order provided by a written musical score, perfectly representing the composer’s wishes, and the concomitant devalorization of the spontaneity and creativity of musicians who, before approximately 1800, improvised a substantial amount of their performances. Connections are made between the modernist concept of organization and postmodern or complexity-based approaches that stress creativity as an emergent property of the relationship between order and disorder. It concludes by suggesting that the study of improvisation demands a profound immersion into (inter-)subjectivity, emotions, time, aesthetics, performance, and social creativity, none of which have traditionally been the focus of organization and management studies, or the social sciences in general."

Dennis Gabor devised a new concept for optical imaging in 1947 that went by a variety of names over the following decade: holoscopy, wavefront reconstruction, interference microscopy, diffraction microscopy and Gaboroscopy. A well-connected and creative research engineer, Gabor worked actively to publicize and exploit his concept, but the scheme failed to capture the interest of many researchers. Gabor’s theory was repeatedly deemed unintuitive and baffling; the technique was appraised by his contemporaries to be of dubious practicality and, at best, constrained to a narrow branch of science. By the late 1950s, Gabor’s subject had been assessed by its handful of practitioners to be a white elephant. Nevertheless, the concept was later rehabilitated by the research of Emmett Leith and Juris Upatnieks at the University of Michigan, and Yury Denisyuk at the Vavilov Institute in Leningrad. What had been judged a failure was recast as a success: evaluations of Gabor’s work were transformed during the 1960s, when it was represented as the foundation on which to construct the new and distinctly different subject of holography, a re-evaluation that gained the Nobel Prize for Physics for Gabor alone in 1971. This paper focuses on the difficulties experienced in constructing a meaningful subject, a practical application and a viable technical community from Gabor’s ideas during the decade 1947-1957.

Informal communities of Russian artists and intellectuals during the late Soviet years practiced a “politics of indistinction.” They claimed to be uninterested in anything political and differentiated themselves from ordinary “Soviet citizens,” whether supporters of or dissenters from the system. However, their apolitical lifestyles and pursuits contributed greatly to creating the conditions for making the collapse of the Soviet state imminent. Close examination of one such group, the Necrorealists, raises a set of questions that are central for an understanding of momentous and unexpected social transformations, and of the concept of "politics" more broadly

The online retail giant Amazon was recently awarded a patent for its “method and system for anticipatory package shipping”. In essence, this patent describes how the retailer wants to build a system for delivering commodities to potential buyers before they place an order. Based on previous orders, items in the shipping cart, and tracking of web-browsing, the package is sent to a specified geographic area and while the package is in transit or waiting at a hub, the final delivery address is specified. What is the logic behind such methods? Why must exchange be anticipated?

This paper will use Amazon’s anticipatory shipping as an example with which to explore why and how value (and by extension capital) must move and accelerate. The paper will focus on the relationship between movement, the value-form and form-determination to account for why value must move, how it moves and by what means. The paper argues that the formal reason for why value must move can be located in the immanent contradiction of the commodity, which requires value to appear in its form. Prior to exchange, products are merely products of labour, use-values, but not yet consummated as values. There is an imperative to transport commodities as fast as possible to the market for value to be realized; anticipatory shipping is thus an articulation of this imperative.

This paper aims to examine some examples of Diego Velázquez’s oeuvre that could be interpreted as genre violations. From a metapictorial point of view, his Sevillian bodegones will be elucidated neither as “pictures of everyday life” nor as polysemic, emblem-like images, but rather as mimetic “inventions”. Despite its significance for the young Velázquez, still life would decline as an independent genre in his maturity. Yet much of what he learnt from its practice re-emerged purified in his “fables” or “history paintings”. With all these works, Velázquez would surpass the concept of simple imitation to
the extent of developing that of dissimulatio artis as the true end of his painting.

Questo saggio esplora il rapporto tra soggettivazione e comunicazione, adoperando un paradigma teoretico stratificato che adotta analisi di stampo tanto rappresentativo che affettivo. Assumendo la soggettivazione nel senso attribuito a questo concetto da Foucault, come un processo storico collegato una configurazione epistemologica e spaziotemporale ben definita, il saggio sostiene che la comunicazione audiovisuale operi come un dispositivo di posizionamento sociale e di mobilitazione percettiva. Inoltre, esso avanza la proposta teorica di analizzare le dinamiche di interazione e socializzazione, che sempre più spesso vengono generate dai cosiddetti nuovi media, in relazione alla New Economy al fine di evidenziare in che modo la produzione sociale sia sfruttata come valore di mercato.

This chapter examines business innovation processes as an ongoing set of activities comprising invention, development, and implementation. Invention implies the emergence of novel ideas of potential value. However, to realize this potential, ideas have to be developed, a process that requires both their instantiation in the form of prototypes and the creation of an infrastructure to generate value in use. In addition, the implementation of innovations (i.e., their widespread adoption) requires additional efforts. After the explication of these three elements of innovation processes, the complexities involved are highlighted. In particular, innovation processes do not progress in a neat, linear fashion from invention to development and implementation, but instead are characterized by considerable shifts between these elements. The chapter concludes by highlighting implications for practice.

Resumen. Este artículo está centrado en la caracterización del ethos de un pueblo pima en el noroeste de México. Retomo el concepto de "invención" de Warner al considerar que dicha caracterización se desprende de las situaciones derivadas de la misma experiencia del investigador. La reconstrucción de las interacciones en el trabajo de campo a partir de las emociones desatadas por el robo de la casa del antropólogo, constituye una propuesta metodológica que ha sido definida como empirismo radical. Se parte de la premisa metodológica de que los resultados de las investigaciones antropológicas son producto de la misma experiencia del antropólogo sin que ello implique abandonar la objetividad anunciada como la base de la perspectiva clásica del empirismo y difundida en los manuales técnicos del trabajo de campo en Antropología. La propuesta es asumir que las interacciones resultantes de las emociones que se viven durante el trabajo de campo permiten entender las formas en las cuales se construye el conocimiento en torno a los grupos humanos que se estudian. Palabras clave: emociones; invención; trabajo de campo; ethos; pima.

This public archaeology endeavor was conducted by the Archaeological Society of New Jersey with assistance from the Middlesex County Office of Culture and Heritage and the Thomas A. Edison Center at Menlo Park, through funding provided by the Middlesex County Board of Chosen Freeholders to identify the former location of Thomas A. Edison's Menlo Park, New Jersey home, along with associated side yard deposits. The research revealed that the house property, which was included in Edison's 1879 and 1880 outdoor incandescent lighting experiment, was also occupied by a later inventor and rubber manufacturer, Charles Elliot.

We built in an experimental way a machine that depilates by the electrolysis system. It works with a power of 5 watts. In the panel there is a LED lamp that indicates the passage of heat through the needle which will be introduced into the hair follicles. The machine has also a foot switch to let hands free for the hair removal sessions. In the panel there is also a clock timer, to control the limits of the work sessions. It is a portable machine. It consumes one 6 volts / 4 amperes standard battery.

The law of patents in India is governed by the patent Act 1970 as
amended by the patent Act 1990. A bill named patent bill 1999 which
had proposed substantial changes in the law was introduced in the
parliament  in  December  1999,  and  was  passed  as  the  patent  Act
2002.A  patent  is  monopoly  right  granted  to  a  person  who  has
invented a new and useful or an improvement of an existing article or
a new process of making an article. After the expiry of the duration
of patent, anybody can make use of the invention. A patent is a form
of industrial property or as it is now called intellectual property. The
owner of the patent can sell this property. A patent being a creation
of statute is territorial in extent. A patent granted in one stated cannot
be enforced in another state unless the invention concerned is also
patented in that state. A patent is not granted for an idea or principal
as such, but for some  article or the process of  making some article
applying the idea.
The object of granting a patent is to encourage and develop new
technology and industry. An inventor may disclose the new invention
only  if  he  is  rewarded;  otherwise  he  may  work  it  secretly.  In
consideration  of  the  grant  of  monopoly  for  a  limited  period,  the
inventor discloses the details of the new invention and the method
working it so that after the expiry of monopoly period others can use
the invention or improve upon it.

Natural resources are infinite. This is possible because humans can create theories whose potential goes beyond the limited imaginative capacity of the inventor. For instance, no number of people can work out all the economic potential of quantum theory. Economic Resources are created by an interaction of Karl Popper's Worlds 1, 2 k 3, the worlds of physics, psychology and the abstract products of the human mind, such as scientific theories. Knowledge such as scientific theories has unfathomable information content, is universally applicable, and infinitely copyable. The point can be made with technological knowledge
such as that embodied in the wheel. The theory of the wheel has unbounded potential to be embodied in unforeseeable new technologies, is useful on the Moon as on Earth, and can be infinitely copied. Unlike a piece of land (using fixed factors), such knowledge shows increasing returns. This helps to explain Julian Simon's observation that "natural" resources are now less scarce than they used to be and why an increasing population can increase resources in the long-run. It was Simon's breakthrough to elaborate on the abstract character of "natural" resources. I further explore this abstract character and thereby explain
why natural resources are infinitely expandable. Economic growth and the creation of natural resources depends on the rate of invention. F. Machlup's suggestion (Machlup 1962) that the opportunity for new inventions increases geometrically with the
number of inventions at hand is acknowledged for its suggestiveness, but criticised for its conservative position. Frank Tipler's fascinating argument for indefinite economic growth (Tipler 1994), is reinforced by my argument by making a distinction between information in the engineer's sense and the infinite potential "information" in our scientific knowledge based on Popper's notion of information content.

This paper deals with the musical instrument "Octo" invented in 2010 and aspects of instrument invention in our contemporary setting, especially focused on enabling musical instruments to have playable micro-intervallic properties and spatial capacities. The paper discusses design and playability considerations when accommodating such tonal properties and the future perspectives of developing/remodeling such hybrid instruments as musical tools for the expansion and further development of musical genres and esthetics in our contemporary setting. Background In the 20 th century we have seen various developments within harmony and techniques that have not been explored before, some of them which are:-microintervalic music and "spatial" music. These developments have helped expand the overall musical/compositional language and have brought new compositional tools for composers, that help in turn develop new ways of writing music and new esthetic horizons.

Neste trabalho, partimos das teorias da imitação do sociólogo francês do século XIX Gabriel Tarde, e da sua revisão, já no século XXI, pelo filósofo italiano Maurizio Lazzarato. Esses autores permitem-nos pensar os processos de subjetivação contemporâneos como processos onde se explicita uma dinâmica específica entre imitação e invenção na vida individual que, por sua vez, andam lado a lado com a dinâmica do capitalismo neoliberal e das suas desterritorializações incessantes. Hoje, os indivíduos contemporâneos mobilizam velozmente as suas imitações e invenções, replicam opiniões em larga escala, movidos pela crença na
possibilidade de interferir, desviar, esculpir, modelar e até reverter o sentido das suas vidas. Imitação e invenção podem ser vistas como ferramentas de construção social. Para além disso, no caso da viralidade e do contágio de ideias por via de redes sociais na internet ou de redes analógicas de consumo e influência, instala-se uma força bestial de imitação que busca uma propagação planetária, cuja potência é extra-individual e permite pensar o sujeito para além de unidades estanques. Para pensar esta temática, situaremos a nossa pesquisa em diálogo com outros autores e exemplos, deste a arte contemporânea a exemplos retirados da internet, e
entre os capítulos que compõem o trabalho, propomos pequenos curto-circuitos textuais na linearidade do raciocínio. Estes curto-circuitos poderão em alguns casos desafiar as convenções do texto académico, mas são sobretudo um experimento sobre a relação entre invenção e imitação na criação de uma voz própria.

This paper argues that poetry—as an example of a contemporary art practice—involves inventiveness at several registers deserving of articulation. Whereas established forms of practice stipulate in advance, to a certain degree, the form of the behaviour to be repeated as practice (the kata of martial arts, the words and rhythms of prayer, the technical gestures of archery), post-enlightenment artistic practices can differ from and extend this aspect of practice, in one important respect. If practice generally is that peculiar constellation of 'doing' that invites the radically new and courts innovation, then in the case of art the practice is doubly engaged with invention, since—after an apprenticeship—it welcomes innovation at the level of its own form. This paper will unpack this claim, with the aim of clarifying for practitioners of any art form, but especially poetry, the two registers at which they can note the appearance and role of newness and the difficulties faced in practising. It then takes up the example of emulation, casting anew its place in an emerging poetic or artistic practice. Emulation can be understood simply as a way practitioners lean on the behavioural forms and examples set by their predecessors or peers, in moments when they are strengthening practising itself. A practice, then, is likely to involve both of these modes: practising within existing, fertile behavioural forms (such as emulation), and phases of more far-reaching invention of the forms of that artistic practice itself. These indeed are entangled, however, a precision regarding practice's mechanisms, as well as an acknowledgement of emulation's contribution, it will be argued, can assist makers, but particularly poets, to identity at what register their making might be hindered. Is it that they actually lack a basic set of behaviours via which to pursue their work, or are they facing the inherent difficulty of art, which welcomes the invention of new forms? By acknowledging that art is doubly difficult as practice, due to its involving both a mustering of the stamina to practice and also invention at the level of form, the poet-artist can work with both greater deftness and patience.

Invention in design means putting into practice a technical/scientific idea that is the result of ingenuity. But it is also the pure capacity for imagination, capable of «altering the sensibility of the human race» (Kubler, 1962), acting as much upon the product’s functions as upon the meaning. And indeed, invention in design is a process that is not in the least ingenuous or visionary, but the outcome of a highly sophisticated process, capable of selecting forms and technologies to obtain the maximum expressive result with the minimum exhibition of formal effort, and of stereotyping itself in formally essential objects. This is why innovation, for design, cannot be resolved only as a “muscular” display of innovative technologies, of use more for simplifying realization processes than for creating new functions or new languages. The designer’s activity is in fact mainly that of serving as a mediator between art, technology, and society, interpreting not only functions, but also the ...

The volume comprises 16 papers given at the conference Re-Inventing Traditions held in Berlin in 2012. It negotiates the question of the transmission of artistic patterns in late medieval manuscript illumination. The model as such is often regarded as a mere working tool but recently the conditions of its creation and transformation have been discovered as a field of research. Among the central themes of these essays are textual tradition, workshop methods and the development and changeability of artistic models throughout different media and in various European regions.

Jill Schostak and I wrote this book as part of our evolving interest in doing research radically.  By radically we mean engaging with people's voices to learn how to create the conditions for social justice and for democratising all the organisations of everyday life.  We draw on our own research but also on the ways in which the media is used to shaw people's voices and behaviours.  We explore all the ways in which the desires and demands of elites are inscribed upon minds and bodies as well as how writing may create the conditions for counter inscriptions.  Writing research is to engage politically.  Whether it is the Arab Spring re-inscribing hopes for freedom, the Occupy Movement or young people challenging orthodoxies at home or in classrooms through use of the media, it is the power of writing in its broadest sense that makes the difference.

El arquitecto holandés Mart Stam fue un outsider del Movimiento Moderno. Comúnmente encasillado en su papel de instigador del ala más dura e intransigente del determinismo racionalista, fue sin embargo un creador original, dotado de un particular talento en todas las escalas. Su propia idea de la disciplina, cercana a la actividad científica, cuya meta es la contribución desinteresada y anónima a un saber universal, ha resultado ser crucial para que su participación en algunas de las páginas más brillantes de la modernidad haya sido relegada a un papel testimonial.



The Dutch architect Mart Stam was an outsider of the Modern Movement. Commonly typecast in his role as instigator of the most intransigent hardliners in the rationalist determinism, was nevertheless an original creator, endowed with a particular talent at all scales. His idea of discipline, closer to scientific activity, whose goal is the selfless and anonymous contribution to universal knowledge, was crucial for their participation in some of the most brilliant pages of modernity had been relegated to a testimonial role.

Economic diversification is a crucial issue in most developing economies because of the global fall in the price of crude oil since 2014. This study therefore investigates the approaches to market innovation by KIBS for economic diversification in a developing economy based on the Resource-Based View (RBV). KIBS are broadly consultancy and problem-solving firms which performs for clients or clients-firms the services that are highly intellectual and value-added driven. A framework is built in which KIBS small and medium sized enterprises (SMEs) employed invention, extension, duplication and synthesis approaches for market innovation to diversify. Four hypotheses were developed and tested. Data was collected from 840 SMEs in KIBS sector of Lagos and analysed. The findings indicate that the approaches are very significant for market innovation. The result would assist in framing programs to encourage market innovation by KIBS SMEs in developing economies. It is therefore, among others, suggested that there should be sensitization programme for the public and law makers on the relevance of KIBS for diversification as well as policy makers to provide supportive structures and infrastructures for KIBS in a developing economy.

Los fundamentos metodológicos de la filosofía de la individuación de Simondon pueden ser revelados por un análisis del problema del sujeto. Simondon cuestiona el sujeto de conocimiento como un ser vivo y como producto social a través del concepto original de lo ‘transindividual’, centrándose en los procesos psíquicos y colectivos de los que emergen las significaciones compartidas. De este modo mantiene juntos la emergencia ontológica del sujeto y el sentido epistemológico de su ontogénesis, concibiendo el conocimiento como la ‘individuación del conocimiento del sujeto’. Esto le permite conectar ciencia y filosofía como diferentes tipos de prácticas estrictamente relacionadas entre sí, remontándose al concepto de intuición de Bergson, y transformándolo en una teoría de la invención. Por lo tanto, una vez que la cuestión sobre los orígenes del pensamiento (y el ser) ha desaparecido, el pensamiento mismo se convierte en acción, praxis, y una empresa arriesgada conectada necesariamente al funcionamiento de los sistemas sociales.

Avec André Gaudreault, Servanne Monjour et Marcello Vitali-Rosati

Les médias existeraient-ils sans la littérature ? Pourrait-on parler de « télévision », de « photographie », de « cinéma » ou du « numérique » sans que ces dispositifs aient aussi été construits, institutionnalisés et même parfois déconstruits dans l’imaginaire collectif par la littérature et son discours ? À l’heure où le numérique semble encore s’inventer, le présent dossier vise à souligner le rôle du fait littéraire dans la construction de nos médias. En même temps, l’hybridation médiatique de notre contemporanéité numérique rend nécessaire une réflexion sur la capacité des médias à se réinventer réciproquement, renouvelant chaque fois l’ordre du discours et la fonction de la littérature. En raison de sa capacité à témoigner de l’hétérogénéité de notre univers médiatique, la littérature offre un terrain privilégié – où tout reste encore à faire – pour mener une telle recherche.