TY - JOUR AU - Balint, Adina PY - 2018/08/12 Y2 - 2024/03/28 TI - Critique, texte et art contemporain. Repenser l’héritage de Marshall McLuhan aujourd’hui JF - Imaginations: Journal of Cross-Cultural Image Studies JA - Imaginations VL - 8 IS - 3 SE - Articles DO - 10.17742/IMAGE.MA.8.3.4 UR - https://imaginationsjournal.ca/index.php/imaginations/article/view/29388 SP - 57-70 AB - <p style="box-sizing: border-box; letter-spacing: -0.4px; text-align: justify; color: #161616; font-size: 16px !important; font-family: Karla, sans-serif; font-style: normal; font-variant-caps: normal; font-weight: normal; orphans: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;"><strong style="box-sizing: border-box; font-weight: bold;">Résumé</strong> |<strong style="box-sizing: border-box; font-weight: bold;"> </strong>À l’ère d’Internet, quelle signification donner encore à l’héritage culturel de Marshall McLuhan? Si la question a inspiré des penseurs français (Michel Serres, Jean Baudrillard, Régis Debray) et canadiens (Derrick de Kerckhove, Pierre Lévy), nous y revenons sous un nouvel angle, en lien avec les arts plastiques contemporains. Par l’exploration de trois expositions :<span class="Apple-converted-space"> </span><em style="box-sizing: border-box; font-style: italic;">Vision trouble d’Annie Briard, Our Land. Contemporary Art from the Arctic<span class="Apple-converted-space"> </span></em>et<span class="Apple-converted-space"> </span><em style="box-sizing: border-box; font-style: italic;">Superimposition: Sculpture and Image</em>, qui se sont déroulées à Saint-Boniface et à Winnipeg, au Manitoba en 2016-2017, nous soulignons la pertinence actuelle des notions d’expérience de la perception, de mosaïque et de village global de McLuhan. Après tout, quels liens novateurs s’établissent entre l’art, les nouveaux médias et la pensée, à partir de Marshall McLuhan aujourd’hui ?</p><p style="box-sizing: border-box; letter-spacing: -0.4px; text-align: justify; color: #161616; font-size: 16px !important; font-family: Karla, sans-serif; font-style: normal; font-variant-caps: normal; font-weight: normal; orphans: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;"><strong style="box-sizing: border-box; font-weight: bold;">Abstract </strong>| Nowadays, in our interconnected virtual world, how can we rethink Marshall McLuhan’s cultural heritage? If the issue has already inspired a number of thinkers in France (Michel Serres, Jean Baudrillard, Régis Debray) and in Canada (Derrick de Kerckhove, Pierre Lévy), this essay approaches the question under new light, in relation to contemporary visual arts. By studying three exhibitions:<span class="Apple-converted-space"> </span><em style="box-sizing: border-box; font-style: italic;">Vision trouble d’Annie Briard, Our Land. Contemporary Art from the Arctic<span class="Apple-converted-space"> </span></em>and<span class="Apple-converted-space"> </span><em style="box-sizing: border-box; font-style: italic;">Superimposition: Sculpture and Image</em><span class="Apple-converted-space"> </span>opened in Saint-Boniface and Winnipeg, Manitoba (2016-17), it outlines the current relevance of McLuhan’s concepts, such as: the sensory experience, the mosaic and the global village. After all, how do visual arts, new media and critical thinking contribute to redefining Marshall McLuhan’s theories today?</p> ER -