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
The Absinthe Encyclopedia by David Nathan-Maister – Absinthes.com – The definitive guide to the history of absinthe. ~ A Guide to the Lost World of Absinthe and La Fée Verte ~ Introduction Absinthe… the Green Fairy… La Fée Verte… no other drink has the same romantic history – the French Impressionists….Toulouse Lautrec, Degas, Manet, Van Gogh….Paris in the Belle Époque… the cafés of Montmartre… the muse of writers from Verlaine and Rimbaud to Joyce and Hemingway. Of course, there’s a darker side to absinthe as well – no other drink has ever roused the same degree of passionate condemnation, and no other drink has ever been banned outright in the way absinthe was in the years leading up to 1915. read more The Rise of the Green Fairy Distillation This chapter gives an account of the making of absinthe, based on actual distillations at the historic Emile Pernot distillery in Pontarlier. The Absinthe Ritual The Effects of Absinthe At the very heart of the absinthe legend is the idea that it provides a noticeably different quality of intoxication. About thujone Absinthe in America The War on Absinthe Renaissance
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
KUNSTKRAKE – Works of art by Michael Hutter 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.
ZBS Media La Bibliothèque de Babel Thème de la nouvelle[modifier | modifier le code] La nouvelle décrit une bibliothèque de taille gigantesque contenant tous les livres de 410 pages possibles (chaque page formée de 40 lignes d'environ 80 caractères) et dont toutes les salles hexagonales sont disposées d'une façon identique. Les livres sont placés sur des étagères comprenant toutes le même nombre d'étages et recevant toutes le même nombre de livres. Chaque livre a le même nombre de pages et de signes. L'alphabet utilisé comprend vingt-cinq caractères (vingt-deux lettres minuscules, l'espace, la virgule et le point ; cette dernière précision est insérée dans le texte de la nouvelle sous forme d'une note de l'éditeur, censé en avoir reçu le manuscrit authentique). Cette nouvelle, une métaphore de la littérature, est profondément influencée par la kabbale[1]. Postérité de la nouvelle[modifier | modifier le code] . Généralisation mathématique[modifier | modifier le code] W. Annexes[modifier | modifier le code]