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International audience ; We are pleased to present a selection of papers presented at the Water Is in the Air workshop, held 25-26 June 2012 in Marseille, France. Recognizing that water is at the core of many economic, social and political issues as well as cultural and symbolic ones, the workshop presented and discussed trans-disciplinary topics, using artistic and scientific projects about water as case studies.

International audience ; We are pleased to present a selection of papers presented at the Water Is in the Air workshop, held 25-26 June 2012 in Marseille, France. Recognizing that water is at the core of many economic, social and political issues as well as cultural and symbolic ones, the workshop presented and discussed trans-disciplinary topics, using artistic and scientific projects about water as case studies.

International audience ; In March 1969, in an article for New York magazine, the art critic Barbara Rose developed what would remain for her, as well as for many subsequent authors, a major thesis in the interpretation of conceptual art. By dematerializing art, she claimed, conceptual artists were formulating an unprecedented critique of the art market and the economic system in general. Indeed, who would pay for a sheet of paper with scribbles on it? Who would readily purchase an idea that can be appropriated just by reading it? "Artists today," she wrote, "are virtually fleeing the art world and the political economy on which it rests." 1

International audience ; In March 1969, in an article for New York magazine, the art critic Barbara Rose developed what would remain for her, as well as for many subsequent authors, a major thesis in the interpretation of conceptual art. By dematerializing art, she claimed, conceptual artists were formulating an unprecedented critique of the art market and the economic system in general. Indeed, who would pay for a sheet of paper with scribbles on it? Who would readily purchase an idea that can be appropriated just by reading it? "Artists today," she wrote, "are virtually fleeing the art world and the political economy on which it rests." 1

This book presents a collection of papers written by researchers, teachers, administrators, analysts and graduate students working and doing research in the field of social sciences. The scientific studies include a wide range of topics from the analysis of social science textbooks to the teacher image in newspapers, the relationship between self-efficacy and cognitive level and the role of organizational silence on the loneliness of academics in work life

International audience ; With the ceramicists of Aubagne First and foremost there is the affirmation of an ancestral tie with the earth. The symbolic significance of working with clay is clear and evidence of this is found from Pre-Roman times on in the ground beneath the town of Aubagne. With the discovery of glaze and enamel the production of pottery spread throughout Provence, and by the 17th century a quarter of the town's population was employed in ceramics. 1 Faience and ceramics began to be exported from the 18th century on. In the French West Indies these objects were actually called Daubagnes. Production became industrialized in the 19th century and in the 20th century it aroused the interest of a number of artists. In fact, Fernand Léger, Henri Matisse, Ernest Pignon-Ernest and Pierre Ambrogiani went to Aubagne to have their works decorated or to make pottery. The major exhibition of Picasso's ceramics staged here on the occasion of Marseille-Provence, European Capital of Culture 2013 is also a more recent episode in this story. A blend of industry and artistic creation, the theme of clay lies at the heart of an identity strategy, reinforced by the art of making santons, originally figures for a Christmas crib, though now they have taken on many different forms (countless personalities from the world of politics and the arts have been santonnifiées – made into santons). These figure are deeply rooted in a history that melds religious and local traditions of the area. Indeed, before becoming the European Capital of Culture, Aubagne was already established as the capital of the santon. It has its networks of artisans, many of whom create original works, its museum, and its school with its 1 Enamel was used in Marseille in the Sainte-Barbe workshops (doubtless first established by Islamic potters from the South of Spain) from the end of the 12th beginning of the 13th century and was widespread in Provence and Languedoc in the 13th and 14th centuries. Glaze first appeared and came into general use in ...

International audience ; PRÉSENTATION Le colloque « La Fonction critique de l'art » qui s'est déroulé à l'Université de Pau et des Pays de l'Adour les 28, 29 et 30 novembre 2007 a réuni des chercheurs participant à une réflexion concernant tant l'esthé tique que l'histoire de l'art. Au-delà d'un simple parti pris « art autonome versus art critique » ou « formalisme versus historicité », les participants ont entrepris une démarche épistémologique, en revendi-quant leurs propres cadrages perspectifs, aucune censure n'étant évidemment intervenue quant aux contenus des textes réunis ici. Les artistes, comme les écrivains, ont pris position, de longue date, sur les questions politiques, sociales, économiques ou esthétiques et ont traduit leurs idées dans leurs oeuvres, conférant à l'art une fonction critique dont témoigne la contemporanéité. Les débats concernant cette fonction critique de l'art sont loin d'être épuisés, comme l'attestent ces actes qui proposent, en quelque sorte, que le dialogue se poursuive autour de problé-matiques actualisées, s'articulant selon les trois axes de réflexion qui avaient été suggérés aux participants lors de l'appel à communications. Modalités et dynamiques de dissidences et de résistances Heureusement indifférents aux accusations qui leur sont faites d'esthétiser la catastrophe ou d'être instrumentalisés par l'institution et le marché, 7

International audience ; PRÉSENTATION Le colloque « La Fonction critique de l'art » qui s'est déroulé à l'Université de Pau et des Pays de l'Adour les 28, 29 et 30 novembre 2007 a réuni des chercheurs participant à une réflexion concernant tant l'esthé tique que l'histoire de l'art. Au-delà d'un simple parti pris « art autonome versus art critique » ou « formalisme versus historicité », les participants ont entrepris une démarche épistémologique, en revendi-quant leurs propres cadrages perspectifs, aucune censure n'étant évidemment intervenue quant aux contenus des textes réunis ici. Les artistes, comme les écrivains, ont pris position, de longue date, sur les questions politiques, sociales, économiques ou esthétiques et ont traduit leurs idées dans leurs oeuvres, conférant à l'art une fonction critique dont témoigne la contemporanéité. Les débats concernant cette fonction critique de l'art sont loin d'être épuisés, comme l'attestent ces actes qui proposent, en quelque sorte, que le dialogue se poursuive autour de problé-matiques actualisées, s'articulant selon les trois axes de réflexion qui avaient été suggérés aux participants lors de l'appel à communications. Modalités et dynamiques de dissidences et de résistances Heureusement indifférents aux accusations qui leur sont faites d'esthétiser la catastrophe ou d'être instrumentalisés par l'institution et le marché, 7

International audience ; With the ceramicists of Aubagne First and foremost there is the affirmation of an ancestral tie with the earth. The symbolic significance of working with clay is clear and evidence of this is found from Pre-Roman times on in the ground beneath the town of Aubagne. With the discovery of glaze and enamel the production of pottery spread throughout Provence, and by the 17th century a quarter of the town's population was employed in ceramics. 1 Faience and ceramics began to be exported from the 18th century on. In the French West Indies these objects were actually called Daubagnes. Production became industrialized in the 19th century and in the 20th century it aroused the interest of a number of artists. In fact, Fernand Léger, Henri Matisse, Ernest Pignon-Ernest and Pierre Ambrogiani went to Aubagne to have their works decorated or to make pottery. The major exhibition of Picasso's ceramics staged here on the occasion of Marseille-Provence, European Capital of Culture 2013 is also a more recent episode in this story. A blend of industry and artistic creation, the theme of clay lies at the heart of an identity strategy, reinforced by the art of making santons, originally figures for a Christmas crib, though now they have taken on many different forms (countless personalities from the world of politics and the arts have been santonnifiées – made into santons). These figure are deeply rooted in a history that melds religious and local traditions of the area. Indeed, before becoming the European Capital of Culture, Aubagne was already established as the capital of the santon. It has its networks of artisans, many of whom create original works, its museum, and its school with its 1 Enamel was used in Marseille in the Sainte-Barbe workshops (doubtless first established by Islamic potters from the South of Spain) from the end of the 12th beginning of the 13th century and was widespread in Provence and Languedoc in the 13th and 14th centuries. Glaze first appeared and came into general use in Provence and Languedoc from the 13th century onwards. In Aubagne, pupils of Italian artisans who had settled in Manosque founded the first workshops around 1510. From Abel V., Amouric H., eds., La céramique, l'archéologue et le potier. Études de céramiques à Aubagne et en Provence du XVI e au XIX e siècle. Exhibition catalogue, Aubagne 1991.

Milutin Gubash is a Serbian and Canadian artist. He lives and works in Montreal (Quebec) since 2005, and was born in 1969 in Novi Sad, in ex-Yugoslavia. He leaves this country, which does not exist anymore, at the age of three years old to settle in Calgary, Alberta (Canada), under the choice of his father. After going to the University, Milutin Gubash establishes his own artistic practice in 2002 using as photography as video, as well as performance. His art focuses on identity research, which reflects his own life and experience of a political immigrant. Gubash makes his own personal investigations the starting point of his artistic production, questioning this way the boundaries in-between private and public. Artist-author and actor of his life and works (performances, videos, and photos) the artist use his own person as well as his family as characters into his stories. Then, the specificity of Milutin Gubash work is the exhibition of his private and intimate life into his art. "Extimacy" is a psychoanalyst term that defines the human tendency to exhibit our intimacy in front of public audience. Serge Tisseron, a French psychoanalyst reuses this concept in 2001 and refines the original Lacanian definition. "Extimacy" came out into the contemporary art during our last decade through narrative and autobiographical practices, and serves here as an opening to Milutin Gubash oeuvre ; Milutin Gubash est un artiste serbe et canadien. Il vit et travaille à Montréal (Québec) depuis 2005, et est né en 1969 à Novi Sad, en ex-Yougoslavie. Ce pays qui n'existe plus aujourd'hui, il le quitte à l'âge de trois ans pour s'établir à Calgary, en Alberta (Canada) sous l'engouement de son père. Après un passage par l'université, Milutin Gubash développe une pratique artistique dès 2002 et produit un art multiforme, allant de la vidéo, à la photo et à la performance. Il oriente l'essentiel de sa démarche artistique autour d'un questionnement identitaire propre à la figure de l'immigré politique. Il fait de ses recherches personnelles le point de départ de ses créations qui interrogent les limites entre la sphère privée et publique. Artiste, auteur, et acteur, de sa vie et dans ses œuvres (performances, vidéos et photos) Milutin Gubash utilise les membres de sa famille comme personnages pour de nouveaux récits. En effet, la particularité du travail de Milutin Gubash est l'exposition de sa vie privée, et intime, dans son œuvre. "Extimité" est un terme issu de la psychanalyse, il désigne la tendance inhérente à l'être humain à s'exposer soi-même. Serge Tisseron, reprend ce terme prononcé une premier fois pas Lacan en 1968, et précise sa définition. Apparu dans le monde de l'art contemporain au cours des dix dernières années, l'extimité sert d'ouverture à l'œuvre de Milutin Gubash.