Suchergebnisse

Artistic interventions within organizations meet the issue of their political stance and their critical ability. Can the art intervention foster a humanization of the organization and lower the arbitrary and authoritarian regime? My own experiments through the mean of a discussion device and a protocol based on the rule: "you choose who you listen to, you cannot choose who you talk to", strive at opening a more egalitarian sharing of the speech on the organizational stage. Drawing on Rancière's aesthetic and politic theories, I investigate two cases where my intervention resulted in an increased enforcement of power and a restriction of the freedom to speak. By describing the internal logics underlying the actors' experience of the sensible, I outline a conception of a dialogism not so much concerned with the right to speak and the claim for acknowledgement, as with the inevitable authoritarian quality of listening. The critique of my intervention and my art device and the consideration of the manners in which the actors perceive the heterogeneous dimensions of speech delineate an art form of intervention as an aesthetic education. Training a dissensual listening would mean knowing how to discern any voice among the rustling others, and knowing how discernment is arbitrary. I conclude by circumscribing which ethic responsibility I need to assume in order for my art approach towards organizations to qualify as a true political aesthetics in the sense of Rancière. ; Les interventions artistiques dans le monde des entreprises soulèvent la question de leur capacité critique, et de leur posture politique. L'artiste peut-il contribuer par son intervention à humaniser l'organisation, et diminuer l'exercice de l'autorité arbitraire qui s'y exerce ? Mes propres expériences au moyen d'un dispositif de discussion particulier, basé sur le principe « on choisit qui on écoute, on ne choisit pas à qui on parle », tentent d'instaurer un partage de la parole plus égalitaire sur les scènes ordinaires de la vie organisationnelle. ...

Artistic interventions within organizations meet the issue of their political stance and their critical ability. Can the art intervention foster a humanization of the organization and lower the arbitrary and authoritarian regime? My own experiments through the mean of a discussion device and a protocol based on the rule: "you choose who you listen to, you cannot choose who you talk to", strive at opening a more egalitarian sharing of the speech on the organizational stage. Drawing on Rancière's aesthetic and politic theories, I investigate two cases where my intervention resulted in an increased enforcement of power and a restriction of the freedom to speak. By describing the internal logics underlying the actors' experience of the sensible, I outline a conception of a dialogism not so much concerned with the right to speak and the claim for acknowledgement, as with the inevitable authoritarian quality of listening. The critique of my intervention and my art device and the consideration of the manners in which the actors perceive the heterogeneous dimensions of speech delineate an art form of intervention as an aesthetic education. Training a dissensual listening would mean knowing how to discern any voice among the rustling others, and knowing how discernment is arbitrary. I conclude by circumscribing which ethic responsibility I need to assume in order for my art approach towards organizations to qualify as a true political aesthetics in the sense of Rancière. ; Les interventions artistiques dans le monde des entreprises soulèvent la question de leur capacité critique, et de leur posture politique. L'artiste peut-il contribuer par son intervention à humaniser l'organisation, et diminuer l'exercice de l'autorité arbitraire qui s'y exerce ? Mes propres expériences au moyen d'un dispositif de discussion particulier, basé sur le principe « on choisit qui on écoute, on ne choisit pas à qui on parle », tentent d'instaurer un partage de la parole plus égalitaire sur les scènes ordinaires de la vie organisationnelle. ...

Artistic interventions within organizations meet the issue of their political stance and their critical ability. Can the art intervention foster a humanization of the organization and lower the arbitrary and authoritarian regime? My own experiments through the mean of a discussion device and a protocol based on the rule: "you choose who you listen to, you cannot choose who you talk to", strive at opening a more egalitarian sharing of the speech on the organizational stage. Drawing on Rancière's aesthetic and politic theories, I investigate two cases where my intervention resulted in an increased enforcement of power and a restriction of the freedom to speak. By describing the internal logics underlying the actors' experience of the sensible, I outline a conception of a dialogism not so much concerned with the right to speak and the claim for acknowledgement, as with the inevitable authoritarian quality of listening. The critique of my intervention and my art device and the consideration of the manners in which the actors perceive the heterogeneous dimensions of speech delineate an art form of intervention as an aesthetic education. Training a dissensual listening would mean knowing how to discern any voice among the rustling others, and knowing how discernment is arbitrary. I conclude by circumscribing which ethic responsibility I need to assume in order for my art approach towards organizations to qualify as a true political aesthetics in the sense of Rancière. ; Les interventions artistiques dans le monde des entreprises soulèvent la question de leur capacité critique, et de leur posture politique. L'artiste peut-il contribuer par son intervention à humaniser l'organisation, et diminuer l'exercice de l'autorité arbitraire qui s'y exerce ? Mes propres expériences au moyen d'un dispositif de discussion particulier, basé sur le principe « on choisit qui on écoute, on ne choisit pas à qui on parle », tentent d'instaurer un partage de la parole plus égalitaire sur les scènes ordinaires de la vie organisationnelle. ...

Les processus formels et informels d'adaptation et d'invention de l'activité de travail sont à l'œuvre en permanence au sein des entreprises. Alors que l'évaluation (des compétences, de la production) reste centrée sur des critères individuels et décontextualisés, ces processus et leur richesse demeurent invisibles aux yeux de la fonction rh , et non appropriés par les individus. Nous soulevons deux questions liées : si ces processus sont permanents, ne serait-ce pas qu'ils sont des conditions essentielles de la réalisation de l'activité, de l'engagement des collectifs et des individus, de création de valeur pour soi et pour l'organisation ? Et dans ce cas, comment le cadre organisationnel pourrait-il devenir support de ces processus et, ce faisant, permettre la réflexivité nécessaire à l'élaboration de l'identité professionnelle et de la construction des parcours ? À travers l'observation d'une expérience conduite au sein d'un chantier d'insertion, volontairement basée sur les ressources de la réflexivité et qui a mobilisé une action de symbolisation, à savoir celle de l'art, nous verrons l'importance de doter les individus et les organisations de moyens pour (se) penser dans l'activité et le collectif.

International audience ; Tino Sehgal occupied the Palais de Tokyo with bodies of performers moving in the museum space, creating "situations." We interpret this from the perspective of "spacing" proposed by Beyes and Steyaert: a processual and minority construction of space. The approach is situated in the turn to affects that allows exposure as openly as possible to the aesthetic experience and triangulates between the performer's position and the spectator's. Performing spacing appears first and foremost as a paradox: how to produce what escapes major production? We then analyze how spacing is produced by means of a limited number of rules, which nevertheless leave some scope to the spontaneous. For performance purposes, a certain degree of policing (Rancière) seemed necessary and kept unchanged part of the distribution of the sensible. Beyond this political aspect, by turning to two sentences by Arendt and Heidegger sung by the performers, we wonder whether the digital age, in its liquid transience and ephemeral connectivities-as well as spacing-can provide a place to settle. We conclude with a reflection on the possibility of representing, performing, and writing about spacing as organizing.

International audience ; Tino Sehgal occupied the Palais de Tokyo with bodies of performers moving in the museum space, creating "situations." We interpret this from the perspective of "spacing" proposed by Beyes and Steyaert: a processual and minority construction of space. The approach is situated in the turn to affects that allows exposure as openly as possible to the aesthetic experience and triangulates between the performer's position and the spectator's. Performing spacing appears first and foremost as a paradox: how to produce what escapes major production? We then analyze how spacing is produced by means of a limited number of rules, which nevertheless leave some scope to the spontaneous. For performance purposes, a certain degree of policing (Rancière) seemed necessary and kept unchanged part of the distribution of the sensible. Beyond this political aspect, by turning to two sentences by Arendt and Heidegger sung by the performers, we wonder whether the digital age, in its liquid transience and ephemeral connectivities-as well as spacing-can provide a place to settle. We conclude with a reflection on the possibility of representing, performing, and writing about spacing as organizing.

International audience ; Tino Sehgal occupied the Palais de Tokyo with bodies of performers moving in the museum space, creating "situations." We interpret this from the perspective of "spacing" proposed by Beyes and Steyaert: a processual and minority construction of space. The approach is situated in the turn to affects that allows exposure as openly as possible to the aesthetic experience and triangulates between the performer's position and the spectator's. Performing spacing appears first and foremost as a paradox: how to produce what escapes major production? We then analyze how spacing is produced by means of a limited number of rules, which nevertheless leave some scope to the spontaneous. For performance purposes, a certain degree of policing (Rancière) seemed necessary and kept unchanged part of the distribution of the sensible. Beyond this political aspect, by turning to two sentences by Arendt and Heidegger sung by the performers, we wonder whether the digital age, in its liquid transience and ephemeral connectivities-as well as spacing-can provide a place to settle. We conclude with a reflection on the possibility of representing, performing, and writing about spacing as organizing.

International audience ; Tino Sehgal occupied the Palais de Tokyo with bodies of performers moving in the museum space, creating "situations." We interpret this from the perspective of "spacing" proposed by Beyes and Steyaert: a processual and minority construction of space. The approach is situated in the turn to affects that allows exposure as openly as possible to the aesthetic experience and triangulates between the performer's position and the spectator's. Performing spacing appears first and foremost as a paradox: how to produce what escapes major production? We then analyze how spacing is produced by means of a limited number of rules, which nevertheless leave some scope to the spontaneous. For performance purposes, a certain degree of policing (Rancière) seemed necessary and kept unchanged part of the distribution of the sensible. Beyond this political aspect, by turning to two sentences by Arendt and Heidegger sung by the performers, we wonder whether the digital age, in its liquid transience and ephemeral connectivities-as well as spacing-can provide a place to settle. We conclude with a reflection on the possibility of representing, performing, and writing about spacing as organizing.