Georges Pompidou Research Articles

The Arabic Constituents ofAfricanit�: Senghor and the Queen of Sheba

Léopold Sédar Senghor's "Elégie pour la Reine de Saba" (Elegy for the Queen of Sheba) first appeared in 1976, and in 1978, it was placed at the end of an edition of previously uncollected works entitled Elégies majeures (Major Elegies), Senghor's last book of poetry. In 1973, the Senegalese poet had published a cycle of love poems entitled Lettres d'hivernage (Letters in the Season of Hivernage) and between 1973 and 1978, some of the elegies had come out separately, but the 1978 volume stands as his first major collection of new poems since Nocturnes (1961) to be written on themes that were more public than personal. The period between the two collections spans almost all of Senghor's presidency (1960-81), and as one might expect, the new elegies reflect important developments in the writer's thinking. Several of the elegies also have obvious political implications and deal with such topical subjects as the deaths of a French coopérant, Georges Pompidou, and Martin Luther King, and the achievements of Senegal's francophone neighbor Tunisia. "Elégie pour la Reine de Saba," describing the narrator's wooing and winning of a black princess, recalls the earlier Negritude poetry in many respects and carries the imprint of the more lyrical inspiration characteristic of Chants d'ombre, published in 1945, or the other romantic poems to be found throughout Senghor's opus, but in its way, this elegy too bears a political message, one that reflects the increasing importance of the Arab world in international affairs. It represents as well a significant evolution in Senghor's use of the Negritude concept, broadened under the impact of political reality to include Arab-Berber Africa within the concept of Africanité. This paper proposes to examine two literary sources on which Senghor has drawn in the composition of the poem and to show how these intertextual references might be construed to reflect the new political and philosophical elements. As the last piece architecturally in what the poet calls the definitive version of his work, the elegy was designated by him to stand as the ultimate expression of his poetic, political, and personal ideals, and whatever messages it conveys must be considered in the light of the additional value accorded to it by virtue of its privileged position.

Surrealism and Imagery

Among the various ideas that Surrealism revamps, and which Werner Spies sweepingly overviews in his introduction to the catalogue for the La Revolution surrealiste exhibition (Georges Pompidou Centre, 2002), one in particular is as obvious as it is unresolved : the image. The poets and artists in the group would actually endlessly deal and experiment with, and mix together, the varied range of accepted senses which make up the very word : image, juggling deliberately with its semantic shakine...

A Public Servant

When Pierre Bourdieu died onJanuary 23, a torrent of tributes, commentaries, and memories flooded the media. Le Monde stopped the presses to make his demise the lead story. Although he had been a severe critic of their policies, the prime minister, Lionel Jospin, and President Jacques Chirac both considered it politic to pay homage. The Centre Georges Pompidou held a public tribute. The New York Times carried an obituary on page 41. Most readers had probably never heard of this French Thinker and Globalization Critic. In spite of Bourdieu's numerous studies of the world of visual culture and the special interest of October in French-inspired discourse, he did not rank among those Parisians frequently credited in this journal's footnotes. In English-speaking countries Bourdieu had, in fact, a relatively minimal presence outside of certain sociology departments. The more recent import of intellectual fare was dominated by other names: Lacan, Foucault, Derrida, Kristeva, Deleuze. For a while even Jean Baudrillard held a sizable market share, particularly in the art and advertising industry (for years his name graced the masthead of Artforum). It would be a fascinating research project-in the tradition of Homo Academicus (Bourdieu's study of his own academic milieu, published in 1984)-to explore the forces behind the relatively tepid reception of his investigations in the field of cultural production in comparison to the extensive following enjoyed by his peers outre-mer. This aloofness vis-a-vis a fellow critical intellectual is particularly surprising in light of the International Sociological Association's listing Bourdieu's Distinction: A Social Critique of the Judgement of Taste (1979) among the ten most important works of sociology of the twentieth century. When the Centre Georges Pompidou asked me to contribute to its Hommage 'a Pierre Bourdieu, I posed the following rhetorical question: What does it mean that the Pompidou is holding this tribute? Had he not laid bare the often unacknowledged role played by the enormous symbolic held by institutions such as this one, with which they-like other educational, religious, and cultural institutions that are shaping our respective habitus-commit what he termed symbolic violence? Had he not assailed them for surrendering a large part of that capital to the public-relations apparatuses of corporations and

Dubuffet, current developments–in trompe-l’œil

The commemorative signs of the centenary of Jean Dubuffet’s birth are somewhat surprising. An impressive and eagerly awaited retrospective was put on at the Georges Pompidou Centre, an event whose scope was the dominant point of a series of exhibitions held, in particular, in the city of Le Havre, where Dubuffet was born, and at the Dubuffet Foundation. It would nevertheless seem that the current state of museography is in contrast with publishing production, hallmarked, for its part, by a ra...

Welcome to the (almost) digital hospital

The author reports on the (almost) digital hospital in the cardiology ward at the brand new Georges Pompidou European Hospital in Paris. It is a medical ideal where everyday operations and record-keeping are carried out and maintained almost exclusively with computers. At the heart of this ambitious model is the electronic patient record. The idea behind it is to make all of a patient's medical reports, lab results, and images electronically available to clinicians, instantaneously, wherever they are. Also, with an electronic record as a base, software tools that increase the accuracy of treatment can be added to improve patient outcomes and reduce cost.

The Screaming Body. By Stephen Barber. London: Creation Books, 1999; pp. 126, 25 illustrations. $19.95 paperback; The Secret Art of Antonin Artaud. By Jacques Derrida and Paule Th??venin. Translated by Mary Ann Caws. Cambridge, MA: MIT Press, 1998; pp.148, 10 illustrations. $16.00 paperback; Antonin Artaud: The Man and His Work. By Martin Esslin. London: John Calder, 1999; pp. 127. $13.95

Following the centennial celebration of Antonin Artaud's 1896 birth, a series of scholarly works on Artaud have appeared. Stephen Barber's The Screaming Body and Jacques Derrida and Paule Thévenin's The Secret Art of Antonin Artaud are concerned with Artaud's non-theatrical works—his drawings and audio recordings—and John Calder Publications has begun reissuing Martin Esslin's Antonin Artaud: The Man and His Work, a book that was first published in 1976, and six volumes of Artaud's Collected Works in translation. These publications come on the heels of several major Artaud exhibitions. Artaud's drawings have appeared at the Centre Georges Pompidou (1987 and 1994), Marseilles' Musée Cantini (1995), and New York's Museum of Modern Art (1996). Retrospectives of Artaud's work in the cinema—Artaud appeared in twenty-three films during the 1920s and early 1930s—were held at Centre Georges Pompidou in 1987, and in London, at the National Film Theatre, in 1993. And finally, Artaud's radio project, To Have Done With The Judgement of God (Pour en finir avec le jugement de Dieu), previously unavailable to scholars, was released in its entirety on compact disc in France, in 1995. The controversial recording, which was recorded six weeks before Artaud's death in 1948, was originally banned by the French director of the Radiodiffusion Française and labeled “blasphemous” and “obscene.” The ubiquity of Artaud's work and the current scholarly interest in Artaud cannot really be called a revival because Artaud has never gone out of fashion. In fact, Artaud's reputation—both in France and in non-Francophone cultures—has never been higher. Since the 1960s, Artaud's poetry, letters, and essays on dramatic theory have inspired theatre practitioners throughout the world.

La contractualisation interne, une voie de progrès pour les services biomédicaux?

The biomedical engineering departments are faced with increasing pressure and with administrative and legal requirements and limitations. Nevertheless, they are obliged to adapt to this situation, and have reacted in a progressive manner. The internal contract has been introduced as an alternative approach based upon existing methods and takes into account competitive and organizational factors. It aims at cooperation between the biomedical engineering department and its internal clients (clinical or medico-technical departments); the former has to specify the services offered regarding the latter party, and the mutual commitments must be established. The first step in this joint approach consists of presenting the biomedical engineering department's list of offers, and comparing this with the clients' expectations or needs. On this basis, an initial contract can be drawn up. Then this contract is subsequently reexamined. Periodic contract renegotiations may be based on criteria such as indicators or complaints, and these will then form the basis for renegotiation of the original contract. This will ensure that there is continuous reassessment and renegotiation based on client satisfaction. This article has described a specific case at the Georges Pompidou Hospital in Paris.

MICHEL FOUCAULT'S HISTORIES OF SEXUALITY

Translated by Michael Lucey

I Wish You Strength and Inner Peace

sembles Intercontemporain and Itineraire of Paris, the Ensemble Aventure of Freiburg, the Nieuw Ensemble of Amsterdam, the ensemble Pro Musica Nipponia of Japan, the duo Aurele Nicolet, Robert Aitken and the Quintet of the Americas. His music has been performed at many international events hosted by, among other organizations, the Centre Georges Pompidou, the ISCM World Music Days in Warsaw and Mexico, the Helsinki Biennale, the Royal Festival Hall in London, the Foro de Musica Nueva in Mexico, the Societe de Musique Contemporaine du Quebec and the Festival Latinoamericano de Musica in Caracas. Luzuriaga received a Guggenheim Fellowship in 1993.

The Pompidou years, 1969-1974

Part I. The Republic of Georges Pompidou: 1. Change and continuity 2. The 'New Society', 1969-71 3. The government in crisis, 1971-2 4. Endgame, 1972-4 Conclusion to Part I Part II. France under Georges Pompidou: 5. The society of the growth rate 6. The outbreak of prosperity 7. A splintered culture Conclusion to Part II.

La télévision publique française : une fabrique ? Les interventions de Georges Pompidou Premier ministre, 1962-1968

Ever since the beginning of the Fifth Republic the question was : how to succeed general de Gaulle who single handedly embodied the new system ? Georges Pompidou tried to answer the question by using the television. Thanks to a good strategy of communication, this neophyte was able to establish himself, during the six years spent at the Matignon Palace, as a real politician. He was careful to signify simplicity, closeness and human warmth, in a contrasting style to the General's, to acquire the necessary legitimacy to attain the high office of President.

Recent Research and Development at IRCAM

September 01 1999 Recent Research and Development at IRCAM Hugues Vinet Hugues Vinet Institut de Recherche et Coordination Acoustique/Musique (IRCAM), 1 Place Igor Stravinsky, Paris F-75004, France, Hugues.Vinet@ircam.fr, http://www.ircam.fr Search for other works by this author on: This Site Google Scholar Author and Article Information Hugues Vinet Institut de Recherche et Coordination Acoustique/Musique (IRCAM), 1 Place Igor Stravinsky, Paris F-75004, France, Hugues.Vinet@ircam.fr, http://www.ircam.fr Online ISSN: 1531-5169 Print ISSN: 0148-9267 © 1999 Massachusetts Institute of Technology1999 Computer Music Journal (1999) 23 (3): 9–17. https://doi.org/10.1162/014892699559850 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Hugues Vinet; Recent Research and Development at IRCAM. Computer Music Journal 1999; 23 (3): 9–17. doi: https://doi.org/10.1162/014892699559850 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsComputer Music Journal Search Advanced Search This content is only available as a PDF. © 1999 Massachusetts Institute of Technology1999 Article PDF first page preview Close Modal You do not currently have access to this content.

The Fifth French Republic: presidents, politics and personalities

The Fifth French Republic is a study of modern French politics and history, discussing the five presidents who span from 1959 to the present--Charles de Gaulle, Georges Pompidou, Valry Giscard d'Estang, Fran5~ois Mitterand and Jacques Chirac. Philip Thody examines the importance of the similarities between the five men for an understanding of the general and political culture of France; the similarities and differences in the foreign policies pursued by the five presidents, including anti-Americanism; France's role in the European Union and her attitude to the Cold War; French domestic policies and administrative practices, attempts to decentralize the state, the role of the French civil service, the problem of immigration and the rise of the National Front.

Georges Pompidou, président conducteur, et la première crise urbaine de l'automobile

Georges Pompidou, The Driver-President, and the First Urban Automobile Crisis, Mathieu Flonneau. There is more to Georges Pompidou's privileged relations with the automobile than the unique and legendary formula "the necessary adaptation of the city to the car". Studying the archives and rereading the presidential speeches allow for a more balanced record of a mandate foreshortened by the president's death. After 1968, the automobile was dealt its first vigorous and fundamental challenge, particularly in the urban centers where pollution and noise provoked much dispute. The public authorities, and first among them the President of the Republic, were not hostile and encouraged measures in favor of road safety and defense of the environment.

Modernist Discourse, Psychic Forms,and Agency: Aesthetic Subjectivities at IRCAM

This article offers an analysis of aesthetic subjectivities inhabiting a high cultural institution. The institution in question is IRCAM (Institut de Recherche et de Coordination Acoustique/Musique), the music section of the Centre Georges Pompidou in Paris (see Figure 1). IRCAM is an internationally renowned institute for the research and production of computer music and its technologies, and is therefore devoted to both scientific and technological research and computer music composition, production, and performance (see Figure 2).1 My research on IRCAM has combined ethnography with a genealogical history (Foucault 1984) of the aesthetic and philosophical discourse on which it is based-modernism in music.2 In this article, I focus in particular on the aesthetic subjectivities of IRCAM's composers and other music intellectuals.3 This article has two aims. First, I will give a portrait of these intellectuals and their musical dispositions. While their dilemmas are substantively specific to music, they exemplify the problems of intellectuals and artists living in a pluralist world who nonetheless feel compelled to develop universal criteria of evaluation and legitimation for their work. The second aim is theoretical and has two interwoven strands. I offer some reflections on the limits of Bourdieu's so-

French Spectral Music: an Introduction

The composers belonging to what would later be called the ‘spectral music movement’ started their careers in an unstable political period in France. Between 1962 and 1974, under the presidency of Charles de Gaulle and Georges Pompidou, France (the 5th Republic) was what we can call a ‘Gaullist Republic’. But in the middle of the 1960s the economic policy of the government aroused the hostility of the French people. The ‘Stabilization Plan’ of 1963 induced unemployment for the first time since 1945, and the authoritarian character of a government which, in 1967, legislated in the form of ordonnances, turned the people against the presidential policy in every domain.

The Krazy Kat Problem

Guggenheim Museum, Soloman R. Robert Morris: The Mind/Body ProblemMorris, Robert Continuous Project Altered Daily: The Writings of Robert MorrisMorris, Robert Centre Georges Pompidou

"Informe" without Conclusion

1. During the time the exhibition Formless: A User's Guide was its planning stage at the Centre Georges Pompidou, a potentially competing project was announced by another Parisian institution under the title From the Informe to the Abject, a title that clearly stated a belief that if the informe has a destiny that reaches beyond its conceptualization the 1920s to find its fulfillment and completion within contemporary artistic production, this is the domain of what is now understood as abjection.I Museum protocols being what they are, however, this latecomer was withdrawn, and the project with the seniority was retained the form of the exhibition for which these texts serve as one section of the catalogue. And yet, that other, unrealized project might nonetheless continue to function terms of an implicit protest against seniority understood by it a wider and more injurious sense of the term: that of supporting the old against the new, of scanting current practice favor of historical precedents, and thereby, of failing to acknowledge what it takes to be the case, namely, that the reason for the currency of present-day interest the concept of the informe is to be found the insistent spread of abjection as an expressive mode. For indeed, this spread is easy enough to document within the cultural manifestations of the last several years. To name only some very recent ones, two respected spokesmen for contemporary art-David Sylvester and Robert Rosenblum -participated Artforum's annual survey of the best and worst exhibitions held 1995 by nominating Gilbert & Georges's Naked Shit Pictures to the top of their lists, comparing this mammoth installation to Renaissance frescoes in which the settings for the groupings of nude figures were not the usual columns and arches but structures erected enlargements of turds, thereby producing their viewers a supposed rush from the scatological to the eschatological.2 Or, as another occasion, there was the

Du temple de l'art au supermarché de la culture

An invention of the Renaissance, the art museum became truly established with the Lumières period. However, a French specificity appeared with the Old Regime, that the French Revolution amplified : centralized State control, in opposition to the Anglo-Saxon tradition, much more marked by private or princely sponsorship. This model, where pedagogic vocation gave way to aesthetic delectation, operated more or less unchanged until the sixties, when widespread upheaval in urbanization conditions upturned the modus operandi, especially since the French museums, less used than their American counterparts to private relations, did not know how to, or could not, resist the fascination of money. Using the examples of the Georges Pompidou Center, the Orsay Museum and the Grand Louvre, the author demonstrates and denounces the union of State sponsorship and marketing, where the pedagogic and democratic project is too often used as an alibi for commercial designs : launched as a mediatic product, the museum becomes a monument, that has to be visited, more than a place of knowledge and pleasure. Whilst cultural success -library, conference series, particularly at Beaubourg -is sometimes welcome, presenting works of art and re-using historic buildings such as the Orsay museum or the Louvre, is much more debatable. Is it possible in a mass and pleasure-driven society to dream of a museum which would pay tribute to the reunion of time and space ?

Remote Public Access to Picture Databanks

This paper is an attempt to assess what the public expects in the field of pictures and how public educational institutions can meet their demand. It goes on to describe the main outline of the BPI's (Bibliotheque Publique d'Information du Centre Georges Pompidou) current project of remote public access to picture data banks as an example of what can be done in this respect