Due to the constant aestheticisation of objects in our daily lives, the consumer's vision and attitude change regularly. This mutation is characterized by an increasingly marked eclecticism and hedonism, as the individual seems to favour a mixture of styles and objects that reflect both his pleasure and his personality. This emerging phenomenon leads companies and stakeholders to ask themselves a number of questions: how is this perception and this aesthetic attitude formed? How are the corresponding judging and evaluation processes put in place? Are there, therefore, different aesthetic profiles that can shed light on these preferences and choices? To answer these many questions, we examined the different aesthetic perception and evaluation mechanisms involved. This innovative approach involved the use of an appropriate and adapted measurement scale: the aesthetic style scale, capable of evaluating the processes implemented in this context as well as determining the existing aesthetic profiles.

Recent legislative developments have contributed to the transformation of professional practices, forcing public organizations to diversify their resources. New public management principles raise a series of uncertainties related to the pursuit of conflicting objectives. Which behavioral practices of public management best fit with objectives of general interest ? Are the ongoing changes in the political and legislative context reflecting these directions ? While professionals are looking for new organizational benchmarks, the tensions inherent to the integration of multiple rationalities reveal serious difficulties in reconciling the mission of general interest with the functioning of the public service. An exploratory approach conducted with five museums of France underlines of the uncertainties experienced by professionals. A cross-cutting reflection on health professionals at the public hospital, under the influence of a logic budgetary rigor and rationalisation of the adminsitrative activity renews the interrogation on the various practives professionals in public management.

From prehistory to the present day, earth and nature were always linked with men. A key question that lies at the heart of development is this: is it nature that makes an ideal territory or is it man who develops it? The ideal territory can be imagined as a space that evolves with time to perfect itself. A real history of alchemy between the earth and men, which corresponds to all the criteria of idealism and proves its reality of existence in the face of utopianism, is found in Burgundy. Here, on 60 km there are 1247 climates with a unique identity, with different natural data that can produce an exceptional wine taste

This article analyzes the role of spelling in the virtual interactions that occur in dating websites. Through interviews, it is shown how this element becomes a fundamental factor in the evaluation of the other. Based on Bourdieu, we affirm that spelling functions as «symbolic capital» in the virtual couple market.

The cognitive sciences have provided crucial insights into several fields of cultural sciences. In particular, the faculty of language has been the area of spectacular advances which have produced arguments in favor of a naturalized vision of linguistic artifacts. It is now the turn of writing, the first complex medium of the human being to seal the union of verbal language with a system of graphic signs, to be subjected to the application of biological epistemology and thereby to confirm the existence of bridges between the genetics of the brain substrate, epigenetics, behavioral mimicry and finally cultural learning. The cerebral localization of the scriptural abilities, recently discovered in the area known as the Exner area, argues for this body/culture circularity and makes it possible to imagine new research programs covering all the media. The diffusion of digital multisensory media brings a new element to this perspective. Indeed, the intensive use of these media causes an ultrafast impact on the functional architecture of the human brain. This new situation, in which the learning of a new medium and the cognitive impact that its use arouses, coincides with the process of its conception and circulation, confers on designers the role “pro-geneticists”.

If in Europe we want to create a true « people » that could encompass today’ existing national people, we do have to develop a symbolic that be common to all of them. Starting from the differences between Demos and Laos, we can observe that as far Demos is concerned, a lot of real stuff exist : « european instiutions at large toghether with the rules of the games necessary to make them work. But, coming to Laos : almost nothing. Needs dreams since Now we have to keep in mind that Laos, as Shakespeare said : « We are such stuff as dreams, are made on and on little life is surrounded with a sleep » (The Tempest, Acte IV, sc. I). sharing dreams means develop a commun mythology, remembering that a myth is a fake history fact that tells the truth. It can be inspired by real historical data, but these data have been transofrmed to create legends withe their heroes. This article is devoted to identifies these heroes and describe their lifes, transformed into a legend : « once upon a time, there was a man, by the name of Charlemagne ; he was a powerful, well-liked emperor, whose knick name culd have been : « The Prince of wisdom… ans soon.. » this pape ris structure following Paul Valery »’s definitio of Europe : there is Europe where : Rome influence on administration, - Greek influence on thinking, - - Christianity influence on inner personal life ; are felt alle three. As a conclusion, we mention the way we can work to fac a huge challenge to write a cmprehensive european mythology around some twenty heroes and their legends making people of Europe feel and live their tales. Huge challent for a large team, but a most necessary and indispensable basis for a true european people to exist.

The aim of this paper is to make a contribution to an important chapter of the modern semiotics by an epistemological and philological examination of the significs elaborated by Victoria, Lady Welby. The author's arguments are based upon Susan Petrilli's book, Signifying and Understanding. This work remarks that, when VLW began to focus on the study of significations, some european scholars attempted to construct the sciences of meaning. However, F.de Saussure was not recognized by VLW, because Saussure's ideas on language and meaning were not published in that time. There are two branches of the theories of the signification, the Peircian branche and the Saussurean one, represented by Bréal. This paper presents a history of reception of the ideas of VLW in the european context.

The purpose of this article is to construct an epistemological problematics of the digital writing in the perspective of a non-anthropocenric concept of posthuman writing. The digital media revolution is intimately related to the writing revolution. In particular in the contex of artificial intelligence, it's time to rethink the nature of writing regarding the question of agency of writers. In sum, the author want to pose a fundamental question, who writes in fact in the digital era? In this regard, a non-anthropocentric conception of writing is needed to explain the posthuman literacy which is based upon the assemblages of human and machine writing. This article insists on the fact that the machine behaves in the digital writing. In this context, the performativity of writing and computer code sources might be recognized.

In this paper I make an attempt to form a discourse about some possibility for developing a concept of transindividaul towards a post-human project. For an approach to this perspective, first of all I try to review Braidotti's programme and vision for the post-human involves two elements: the development of new subjectivity and the embracing of a post-human ethics. She confidently suggests a monistic philosophy of becomings which depends on the idea of matter, the association of the human and technological objects results in a new transversal compound, that is same like symbiotic relationship among the human, the animals and the mechanic. For this reason, we need to reconsider 'mechinic vitality' as becoming a subject that is the being who bears in the functioning itself. This means that the passage from vital individuation to psycho-social, or transindividual individuation via the psychic transitory path. The concept of transversal technologically mediated subjectivity by Braidotti is central to a new vision of post-human subjectivity and it provides some of new ethical frame. In this context I return to the notion of the transindividual by Gilbert Simondon which is defined the systematic unity of interior individuation and exterior individuation because it makes subjects intervene in so far as they carry a charge of pre-individual reality. Transindividual is capable to be connected an ideal of the relative subject which is a new perspective towards post-human. With this respect, I would connect it to clarify a theoretical challenge for a new of the transversality of relation for post-human subjectivity.

In France, cultural policy begins to take on a different meaning from the Popular Front government in the 1930s. This leftist government emphasizes the politics of the vulgarization of culture, a culture reserved for the bourgeoisie or to the nobility. In 1959, the Ministry of Culture was created and André Marlaux, Minister of Culture, rushed to embody his ideas on culture, the 'democratization of culture' whose goal is to make everyone love culture. This policy, soon criticized for its spirit of elitism emphasizing the art and culture of the "fine arts", is replaced (or supplemented) by the "cultural democracy" in the 1980s. This policy of cultural democracy supports the idea of citizen participation in the cultural field either as spectators, as an artist, or even as an organizer. But following the decentralization of the 1980s, the deregulation and the globalization that happened in the 1990s, the state gradually lost control over the cultural field. The process of “désétatisation” of the culture took place and it is then the cities, armed with a powerful theory, creative city, which start to structure the cultural governance. The paradigm of French cultural policy is beginning to change. This article aims to examine the evolution of French cultural policy and analyze important elements causing this change, from the 'democratization of culture' to 'cultural democracy', then to the metropolitan cultural policy.

In this article, first of all, what I want to insight is what is 'visual pleasure'. Visual pleasure, as a term of psychoanalysis, is one of the strategies that work primarily in Hollywood movies. Therefore, I think that this concept can be divided into the first pleasure to make a visual image object and second, the pleasure to discover the perfect image of oneself. The first visual pleasure is also known as Scopophilia. Scopophilia refers to the act of looking in sexuality. The key is that it is a type of looking without revealing itself. The second visual pleasure is narcissism. As you well know, it is the pleasure of discovering your idealized ego. It is a panopticon that Scopophilia works at the national level. It can be seen that Scopophilia is ultimately an important operating principle of 'Surveillance'. Narcissism is a pleasure to discover the idealized self. In particular, this is related to the attitude of spectators viewing national antagonistic sports games. Therefore, conceptualizing these two things can be called 'Objectfication of others' and 'Idealization of oneself'. From this article, I'm willing to compare the visual pleasure of 3 Korea Directors films with the early Hollywood Films. The Objectification of others always structures 'the looking subject' and 'the visible object'. In the patriarchal society, the subject is structured as a man, the visible object is a woman, and this structure is transformed into a very strong power-structure. At this time, the image of the visible object becomes an element of Spectacle.