Le travail artistique ne se construit pas sur une question préalable mais sur l’émergence toujours renouvelée de questions imprévisibles.L’oeuvre d’art à l’époque de sa discrétion technique tire bien évidemment son titre du texte de Walter Benjamin L’oeuvre d’art à l’époque de sa reproductibilité technique. Dans son texte, Benjamin essaie d’envisager les conséquences esthétiques et politiques de la reproductibilité technique. Nous essayons (modestement) de reposer la même question à l’heure du numérique.Cette question n’était pas donnée d’emblée. Elle est apparue dans le tressage complexe de la pratique. Dans ce tressage de problématiques apportées par la pratique elle-même, deux temps sont aujourd’hui visibles :- le temps de la reproductibilité technique, du livre d’artiste et du don ;- le temps de la discrétion, du numérique et de la disponibilité.Ces questions sont apparues de proche en proche et jamais selon un plan préétabli. Le travail d’analyse, n’est donc pas la recherche d’une stratégie ou d’un plan préexistant mais le relevé a posteriori d’un territoire découvert par une marche dans un pays inconnu.Ce tressage continu de la pratique et de la théorie est présent dans l’écriture même de la thèse. S’y mêlent à égalité des oeuvres plastiques, des textes littéraires, des articles, des manifestes et des écrits théoriques. / Artistic work is not built on a previous question but always renewed by the emergence of unforeseen issues.The Work of Art in the Age of Technical Discretion obviously takes its title from the text of Walter Benjamin The Work of Art in the Age of Mechanical Reproduction. In his text, Benjamin tries to consider the aesthetic and political consequences of technical reproducibility. We try (modestly) to ask the same question in the digital age.This question was not immediately given. It appeared in the complex braiding practice. In this weaving problems introduced by the practice itself, two times are now visible:- Time of technical reproducibility, artist’s book and gift;- The time of discretion, digital and availability.These questions have arisen step by step and not according to a predetermined plan. The analytical work, therefore, is not looking for a pre-existing strategy or plan, but the survey retrospectively territory discovered by a walk in an unknown country.This continuous braiding of practice and theory is in the writing of the thesis too. Mingle with equal plastic works, literary texts, articles, manifestos and theoretical writings.

The thesis considers Felix Guattati's notion of transversality, Fernand Deligny anti-pedagody, and Brigid Brophy's novel In Transit (1969) to argue that the terms of subsumption and stratification have the potential to address the conceptual apparatus of the avant-garde to avoid certain foreclosures concerned with the rhetoric of revolutionary transformation traditionally associated both with vanguardism in a politico-ideological sense and with the avant-garde as an aesthetic and critical project. To unlock the critical potential of the terms of subsumption and stratification in regard to the avant-garde, the theoretical framework of Félix Guattari and Fernand Deligny developed as a result of their clinical experience with psychotic and autistic patients, respectively, is used to foreground how subsumption and stratification are inherent in the notions of transversality, group subjectivity, assemblage of enunciation, signification, schizoanalysis, tracing, and mapping. Using these, the thesis argues that in order to address the theoretical foreclosures associated with the notion of the avant-garde, the latter should be viewed in the light of the complementary operations of subsumption and stratification. To substantiate the argument, the thesis juxtaposes Félix Guattari's notion of transversality,...

"dort wo sich die Geister scheiden fängt die Kunst an", diese Notiz auf einem unscheinbaren kleinen Zettel als Motiv auf dem Einband des Ausstellungskataloges "POETA WOHIN?" erschließt sich erst, wenn man den Band auf den Kopf stellt.

What kind of and how much mathematics should a high school maths teacher know? The experience with a math camp, an innovative form of bringing together high school pupils, university math students and math teacher students as well as university professors in the common aim to teach mathematics sheds new light on this question. Different interests define different positions. The different actors have little common aims since they rarely form a joint community of practice. Over the seven years of its existence the math camp has evolved from a classical lecture-centred activity for gifted pupils to a much more encompassing experience illustrating the importance of a two way communication between advanced mathematics and elementary mathematics in schools.

Ein anderes Jubiläum lenkt die Aufmerksamkeit auf einen Komponisten, der Richard Wagner verehrte und als ausgebildeter Musiker in den besten Jahren nach Dresden zog, um dort für 37 Jahre bis zum seinem Lebensende erfolgreich zu wirken. Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresen (SLUB) führt in ihren Beständen nicht nur Wissen; sie verfügt auch über ein ausgezeichnetes Gedächtnis. Seit 1953 erinnert der Nachlass Felix Draesekes in der SLUB an den spätromantischen Komponisten, Musikpädagogen und Musikschriftsteller, der sonst wohl völlig zu Unrecht in Vergessenheit geraten wäre.

[pt] O título parte de um termo de Rodrigo Naves sobre a obra do artista Nelson Felix em sua maneira de articular elementos naturais e procura o relacionar, como parte e continuidade de artistas contemporâneos — e especificamente de elaboração mental em substituição da composição tradicional — com a corrente de pensamento das ciências sociais e naturais que teoriza o chamado Antropoceno. Sua obra é tida aqui como foco por trabalhar de modo mais direto (e indireto ao mesmo tempo) com materiais do mundo dito natural e social/cultural em diversas escalas de tempo e por manter ainda assim dimensões subjetivas, inacessíveis e indeterminadas de significado. Algumas noções recentes relacionadas ao Antropoceno por Dipesh Chakrabarty, Bruno Latour e Donna Haraway, e outras sobre a modernidade e a história da arte por Hannah Arendt e Erwin Panofsky, entre outros, são colocadas antes de olharmos para um conjunto de obras do artista. Nesta ordem, procura-se perceber as relações possíveis na arte contemporânea brasileira com tais conceitos debatidos hoje na urgente discussão sobre essa nova época geológica. / [en] The title comes form a term used by Rodrigo Naves about the art work Nelson Felix and seeks to relate it as a part and continuity of contemporary artists — and specifically of mental elaboration that tries to replace the traditional composition — with the current Line of thought from the social and natural sciences that theorizes the socalled Anthropocene. His work is taken as a subject here because it works more directly (and at the same time indirect) with the materials from the natural and social / cultural world, in addition to maintaining inaccessible and indeterminate dimensions of meaning. In this way, some recents notions about the Anthropoce articulated by Dipesh Chakrabarty, Bruno Latour and Donna Haraway with others about the modernity from Hannah Arendt, Erwin Panofsky, among others are placed together before looking to a group of works by the artist. This way we seek to understand the possible relations in Brazilian contemporary art with such urgent concepts debated today in the discussion about this new geological epoch.

[pt] A Geofilosofia é uma ontologia ecológica apropriada para problematizar a catástrofe climática que vivemos, o Antropoceno. O conceito desenvolvido por Deleuze e Guattari se relaciona com o nosso tempo – o Antropoceno – como modo de ecologizar o pensamento. Um materialismo anti-humanista em oposição à Era do Antropos e o humanismo da Modernidade. Nesta tese, tratamos de uma virada ecológica da filosofia, que emergiu enquanto o capitalismo industrial e posterior, o neoliberalismo e o colonialismo (que se apropriava de matéria e energia baratas) tomavam o planeta de assalto. Por fim, contrapomos a um estilo de vida que imagina um mundo inerte e homogêneo à disposição para consumo, modos de vida synpathicos, operações simbióticas da vida real. Em especial, as Terras Pretas de Índio na Amazônia, experiência de compartilhamento ecológico autóctone. / [en] Geophilosophy is an ecological ontology appropriated to problematize the climatic catastrophe that we live through, the Anthropocene. The concept developed by Deleuze and Guattari relates to our time – the Anthropocene – as a way to ecologize thinking. An anti-humanism materialism in opposition to the Anthropos Era and the humanism of Modernity. In this thesis, we deal with an ecological turn of philosophy that emerged while industrial capitalism – and beyond, neoliberalism and colonization (which appropriated cheap matter and energy) took the planet by storm. Finally, we oppose to a life style that imagines a homogenous and inert world available for consumption, syn-pathetics ways of life, symbiotics real life operations. In particular, the Terras Pretas de Índio (Indigenous Dark Earth) in the Amazon, autochthonous ecological sharing experience.

No description available.

The unpublished concert aria, "Ch'io t'abbandono," by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer's developing musical aesthetic. In this study, Mendelssohn's education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece's composition and also the reasons it was not published during Mendelssohn's lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers of the piece, Franz Hauser and Eduard Devrient, leads to further discussion about the nature of the work as both a reflection of Mendelssohn's romantic self-expression and his appreciation for the Baroque melismatic style. The significance of the aria, both stylistic and biographical, is further delineated by a presentation of possible motivations for its composition. The musical setting of the text, as well as the text itself, indicates both Mendelssohn's awareness of himself as a maturing adolescent composer and his desire to be a composer of operatic works, a desire that was never fully realized.

A study of a 250 ft. (76.2 m) stratigraphic interval that includes the Eocene-age Felix coal of the Wasatch Formation was undertaken in the Powder River Basin of Wyoming to establish a depositional model based on the interrelations of coal-seam geometry, coal maceral composition, and spatial distribution of adjoining rocks. Regional cross sections and maps of major rock bodies were prepared from 147 measured stratigraphic sections and 56 geophysical logs. Trends in maceral and chemical properties within the Felix coal were identified from petrographic and geochemical analyses of 72 coal channel samples. The combined data sets indicate that the thickest portions of the coal are underlain by widespread, interconnected, sandstone-dominated fining-upward sequences (< 50 ft. or 15 m thick over a 300 sq. mi. or 777 sq. km area) whereas areas of thin or split coal are underlain by stacked predominantly fine grained, coarsening-upward sequences (< 50 ft. or 15 m thick). Above the coal, fining-upward sequences are concentrated over thin coal areas and widespread (> 20 mi., 32 km wide) coarsening-upward sequences overlie thick coal areas. Megascopic and petrographic description of the coal indicates that the brightest coal contains the greatest amount of huminite. This type coal occurs in the lowest portion of the seam and directly above clay partings in thick coal areas and in split benches · on the margin of the deposit. The central and upper portion of the seam is predominantly dull, and inertinite percentages increase towards the top of the seam. The deposits below the Felix resulted from north-northwest flowing meandering rivers. Thick peat represented by thick portions of the Felix coal accumulated upon this sandstone-dominated, poorly compactible platform that was free of sediment influx. Areas of thin and split Felix coal, underlain by fine-grained, more-compactible sediments, attracted water-borne elastics that interrupted peat accumulation. The base and split portions of the seam are the remains of predominantly coniferous trees that grew within a nutrient-rich environment, and the duller central and upper portions of the seam indicate oxidation associated with a raised peat deposit. Ash falls and fires during late stages of peat accumulation may have contributed to the demise of the swamp. After vegetation died large lakes formed and were subsequently filled by crevasse deposits from streams. The final phase of compaction of the fine-grained lake sediments and the thick underlying peat attracted anastomosed alluvial channels.