Nouvelles perspectives sur le développement humain
Les industries créatives ont placé les arts et la culture au coeur de l'économie du savoir. Il faut toutefois aller au-delà des chiffres et des statistiques pour comprendre leur apport au développement humain et leurs impacts sociaux. Ils sont avant tout une question de sensibilité au monde et à l'autre, un état d'esprit et un savoir être qu'on apprend à cultiver.
Les bibliothèques, les espaces culturels et les musées jouent un rôle prépondérant à cet égard avec la diffusion de contenus artistiques et culturels. Ce sont aussi de formidables lieux d'apprentissage et d'éducation qui contribuent à la recherche et au développement des savoirs grâce aux réseaux de coopération scientifique, technique et culturelle implantés partout dans le monde. Et cela ouvre de nouvelles perspectives à la recherche-création.
New perspectives on human development
The creative industries are placing arts and culture at the heart of the knowledge economy. However, we must go beyond statistics to fully understand their contribution to human development and their social impact. They are all about our sensibility to the world and to the other, a state of mind and a way of being we learn to cultivate.
Librairies, art spaces and museums are playing a preponderant role in this regard with the dissemination of artistic and cultural contents. They are also much appreciated places for learning and education and contribute to research and development through their scientific, technical and cultural cooperation networks around the world. And this is opening new perspectives to research-creation.
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Ateliers / Workshops
* Architecture et innovation / Architecture and innovation
* Art thérapie / Art therapy
* Recherche-création / Research-creation
Art as a means of creation and self-creation is an existential activity once said Harold Rosenberg. As a means of self-identity it also became a part of a complicated web of the modern experience - splitting from the past - as the subject (artist) is negotiating the interbetweeness of his or her existence - trying to regain his/her humanity into a new world (Kim Thériault, 2009). But the memory without consequences, argue Ernst Van Alphen, contains the seeds of its own destruction.
Therefore, a new programme for the medical humanities should involve a radical concern with cultural dimensions of health as more than a subjective dimension outside the realm of medical science (Julia Kristeva et al. 2017) and we must understand and recognize that the imaginative discourses of art and literature performs functions that cannot be fulfilled by traditional history, nor by medical science. Those functions need to be addressed by acknowledging the pathological and healing powers of arts and culture and rethinking the concept of evidence in healthcare.
Medical humanities emerged as a discipline during the late 1960s and 1970s in United States. It was first dedicated to people, mainly militaries involved in the Viet Nam War, suffering from shell shock or who broke down following a traumatic event or psychological trauma. The patients were considered inherently vulnerable or subject to a neurosis laid down in childhood. Then, in light of new researches conducted in United States and focusing on deeper dimensions of trauma, traumatology was defined as the investigation and application of knowledge about the immediate and long term psychological consequences of highly stressful events and the factors which affect those consequences.
The diagnosis of post-traumatic stress disorder (PTSD) was validated in 1980 and reflected the new belief that all individuals could suffer long term effects as a result of traumatic event. Unfortunately, says Julia Kristeva, medical humanities are still frequently reduced to a soft, subjective and cultural supplement to a stable body of biomedical and scientific knowledge, repairing the gap between what she identifies as « bios » and « zoé » , nature and culture.
Trauma arises when an event cannot be worked through or understand within the frames provided by the symbolic order, when an event make no sense. Art and culture, here, have a meaningful role in articulating transhistorical and philosophical considerations that do not necessarily belong to the reified repertoire of historical genealogies, and that can only be understood through a semiotic system. Thus, we should recognize the poetic value of art and regard medical humanities and their related activities with all due respect - and be guided by.
JF
From it's greek source (museion) as a « temple of the muses » until today, the idea of museum has had different definitions. Thus, during the Italian Renaissance (15th century), the collection of Lorenzo de' Medici was described as a museum because it conveyed the concept of comprehensivness. Later, during the 17th century, museums were...
Les formes altères ne sont pas des formes altérées, mais plutôt leur altération même, leur matrice et leur déhiscence. Elles apparaissent là où la raison ne se hausse plus, au-delà ou en-deça, juste avant, juste après, à côté, en traverse la connaissance, l'inconnu demeurant inaccessible- c'est la zone grise du paradoxe de l'écrivain chez Marguerite Yourcenar, l'oscillation chez Vladimir Jankélévitch et le soeben chez Fernando Gil, ou encore le lien invisible chez Ladislav Kvasz. L'esprit n'est donc pas un dispositif passif qui fermerait la pensée sur elle-même, mais plutôt le principe de composition cherchant la présence et le devenir des choses. L'ars poetica.
JF