Dans la tête de Jorge Luis Borges Le corpus des célèbres entretiens entre Jorge Luis Borges (Buenos Aires, 1899 – Genève, 1986) et Osvaldo Ferrari – poète, essayiste et journaliste – se composent de quatre livres traduits de l’espagnol au français, réunis en deux volumes pour cette édition : Dialogues I et Dialogues II. Le dialogue radiophonique se révèle ici comme un genre littéraire à part entière, “une manière indirecte d’écrire” dit Borges, interrogé à près de quatre-vingt-cinq ans et frappé de cécité depuis les années 1950. On pourrait dire à la lecture de la transcription de ces nombreuses conversations, principalement réalisées pour Radio Municipal (Buenos Aires) en 1984, que Borges est la littérature incarnée à son sommet. Le moteur de la pensée littéraire de Borges, pourrait-on dire, tourne autour de l’idée-source selon laquelle “le sentier futur est déjà parcouru” et “la réalité est toujours anachronique”.
Anaximander of Miletus and His Philosophy on the Origin of All Things Anaximander of Miletus was a Pre-Socratic philosopher who belonged to the Milesian school. As indicated by its name, this school of thought was based in the city of Miletus on the western coast of Anatolia, modern day Turkey. Anaximander is one of the three prominent figures in this philosophical school, the other two being Thales and Anaximenes, the former commonly thought to have been Anaximander’s teacher, whilst the latter, his student. It has been pointed out that these three early philosophers held quite distinct views on most subjects, and that their grouping is based on geographical convenience rather than on shared opinions. Anaximander is thought to have been born in 610 BC. “And Apollodorus, in his Chronicles, states, that in the second year of the fifty-eighth Olympiad, he (Anaximander) was sixty-four years old.” In other words, in the year 546 BC, Anaximander was 64 years old. Anaximander’s Creations Very little is known about Anaximander’s life. By Wu Mingren
Mapping Mandeville Project - Historia Cartarum Project Manager: Dr. John Wyatt Greenlee, PhD Mandeville Setting Out on His Journey (BL Additional 24189, f.3v) Project Description: The 14th century travel book and geography, The Travels of Sir John Mandeville provides readers with a fantastical tale of a man’s (supposed) journey from England to the farthest edges of the world. Students often attempt (and fail) to overlay the world that Mandeville presents to them onto a modern map — trying to visualize the geographies of The Travels through a modern lens. 1989 Reproduction of the Hereford Map Mappaemundi provide images of the world that relied on the wide range of sources available to their authors. Like Mandeville’s text, medieval mappaemundi are often difficult for students to approach. This project seeks to combine Mandeville’s text with one of the largest and most famous of the mappaemundi — the Hereford Map — in an attempt to use the two media together to make them more individually comprehensible. Click through to the Map Page
Space Telescope Live The Universal Library by Kurd Lasswitz | Mithila Review Translated from the German by Erik Born Publication Note As far as we are aware, the source for this translation is in the public domain, since the text was originally published in Germany in 1904 and the author passed away in 1910. Translator’s Preface Kurd Lasswitz’s short story “Die Universalbibliothek” is a historical work of speculative fiction about the desirability of creating a universal library, which would contain not only everything already written in the past but also anything possibly written in the future. At first glance, “Die Universalbibliothek” may appear to offer little more than an elementary lesson in arithmetic with the main character, a mathematics professor, serving as a thinly veiled stand-in for the author.[2] Admittedly, the calculations involved in the story will not dazzle any mathematicians, and the somewhat predictable dialogue, rigid characterizations, and almost non-existent plot will hardly overwhelm the literati. “That’s certainly true, Mrs. “What?” [1].
Borges Jorge Luis Écrivain argentin. Selon Fulvio Caccia, «la compréhension que l'internaute a du Web doit beaucoup à l'oeuvre spéculaire, labyrinthique du grand Argentin. C'est lui qui inspira la notion d' "hyperlien", clef de l'interconnexion.» (liens J.L.Borges, site de LIRE, juin 1999) Maria Oddó, Poétiques de l'ambivalence. The Queer Use of Communal Women in Borges' "El muerto" and "La intrusa", par Herbert J. Borges, the Apologist for Idealism, par Marina Martín, St John's University (MN) (Paideia Project, Twentieth World Congress of Philosophy, Boston, Massachusetts, É. Lost in the Labyrinth: centennial celebrations for Jorge Luis Borges have reached a bursting point. The Blind Man. Jorge Luis Borges & the plural I, par Eric Ormsby, The New Criterion, vol. 18, no 3, novembre 1999 Borges amoureux, par Alberto Manguel (Le Monde des Débats, no 4, juin 1999)
How Ancient Greek Statues Really Looked: Research Reveals their Bold, Bright Colors and Patterns "Did they have color in the past?" This question, one often hears, ranks among the darndest things said by kids, or at least kids who have learned a little about history, but not the history of photography. But even the kids who get seriously swept up in stories and images of the past might hold on to the misconception, given how thoroughly time has monochromatized the artifacts of previous civilizations. As much as such precocious youngsters have always learned from trips to the museum to see, for instance, ancient Greek statues, they haven't come away with an accurate impression of how they really looked in their day. Recent research has begun to change that. "To us, classical antiquity means white marble," writes Smithsonian magazine's Matthew Gurewitsch. In the years since the discovery of ancient Greek statues' original colors, the reactions of us moderns have, shall we say, varied. (via i09) Related Content: Watch Art on Ancient Greek Vases Come to Life with 21st Century Animation
The Drolatic Dreams of Pantagruel (1565) "The great familiarity I had with the late François Rabelais," Breton writes in the preface, "has moved and even compelled me to bring to light the last of his work, the drolatic dreams of the very excellent and wonderful Patagruel". Despite the claims (echoed too in the book's subtitle), the book's wonderful images are very unlikely to be the work of Rabelais himself — the attribution probably a clever marketing ploy by Breton. Indeed, that this attribution to Rabelais is a ruse might also explain the unusual lack of text beyond the preface, the intimidating task of imitating the comic master's distinctive literary style perhaps one step too far for Breton. "The great familiarity I had with the late François Rabelais," Breton writes in the preface, "has moved and even compelled me to bring to light the last of his work, the drolatic dreams of the very excellent and wonderful Patagruel".
30 anecdotes artistiques insolites pour briller à l'apéro L’été est de retour ! Les apéros, les barbecues et autres pique-niques au bord de l’eau sont les bienvenus. Pour frimer en maillot, sur le sable, en famille ou entre amis, Beaux Arts a sélectionné pour vous 30 anecdotes à picorer. Le surnom intime de Toulouse-Lautrec, un film d’horreur inspiré par Magritte, le rapport entre le Centre Pompidou et Nike, du cerveau de momies extrait par le nez… À vous de jouer ! 1. Le saviez-vous ? 2. Pablo Picasso a peint quelque 60 000 œuvres au cours de sa vie, soit deux par jour en moyenne. 3. Au MoMA de New York en 1961, « Le Bateau » de Henri Matisse a été exposé pendant 47 jours… à l’envers ! 4. Les trois femmes dans Femmes au jardin de Claude Monet (1866) ont toutes le même visage… Celui de Camille, épouse de l’impressionniste. 5. Charles Baudelaire a demandé à Gustave Courbet d’effacer son ex-maîtresse, Jeanne Duval, tout à droite de sa toile L’Atelier du peintre (1855) où il figure lisant un livre. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
Pour éviter les procès pour plagiat dans la musique, un algorithme met 68 milliards de mélodies dans le domaine public Robin Thicke et Pharrell Williams condamnés pour avoir plagié Marvin Gaye, Radiohead accusant Lana Del Rey d’avoir copié le titre Creep avec son Get Free, Chris (ex-Christine and the Queens) accusée d’avoir copié un logiciel dans son titre Damn, dis-moi… Les accusations de plagiat et les procès qui s’ensuivent sont l’une des plaies de l’industrie musicale. Le phénomène ne date pas d’hier et personne ne semble y échapper. Alors Damien Riehl, avocat spécialiste du droit d’auteur, musicien et développeur à ses heures, et son compère Noah Rubin ont créé un algorithme pour générer… toutes les mélodies possibles, avant de les protéger par des droits d’auteur, rapportent le site américain Vice. Pas pour avoir l’opportunité de poursuivre des musiciens en justice, bien au contraire. Dans une présentation TedxTalk, Damien Riehl explique que la musique, finalement, ce ne sont que des mathématiques. Explorer toutes les combinaisons mélodiques possibles Pas de risque de poursuite pour plagiat
Collectif de Babel Where Words are Stored: The Brain's Meaning Map Listening to speech is so easy for most of us that it is difficult to grasp the neural complexity involved. Previous studies have revealed several brain regions, collectively called the semantic system, that process meaning. Yet such studies have typically focused on specific distinctions, such as abstract versus concrete words, or found discrete areas responsive to groups of related words, such as tools or food. Now a team of neuroscientists in Jack Gallant's laboratory at the University of California, Berkeley, led by Alexander Huth, has generated a comprehensive “atlas” of where different meanings are represented in the human brain. The researchers played two hours of stories from the Moth Radio Hour, a public broadcast show, to seven participants while recording their brain activity in a functional MRI scanner. The maps cover much of the cortex, the outermost brain regions controlling higher cognitive functions, extending beyond areas traditionally thought of as language centers.