{"node_view":"\u003Carticle class=\u0022node\u0022\u003E\n  \u003Ch1 class=\u0022node-title\u0022\u003EPansemiotic\u003C\/h1\u003E\n\n  \n          \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003E\u003Cp\u003E\u003Cem\u003EFor this exhibit, I asked the audience to applaud for me repeatedly.\u003C\/em\u003E\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EGENERAL NOTES ON THE PANSEMIOTIC\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EDear friends,\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EWhat I can say today about the Pansemiotic, it is that, by its practice, it induces a process of receptivity. First, the practice of signs, which are found in the field of the constitutive opening of our object. The coming purpose, knowledge, obviously. The practice of the organization of these signs which guarantees a possible connection of things by granting them a template. The identification of models constitutes a significant unit in a situation of discourse. And this situation gives us the framework for a first intervention.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003E\u003Cem\u003EFirst intervention\u003C\/em\u003E\u003C\/p\u003E\u003Cp\u003EUpdated our directory that a polysemy of its own, as dependent on the subject (of the situation), becomes guarantees the support of a state of emptiness. Being ready to grasp, it\u2019s the paradox of vacuums! A vacuum that allows the availability of emptiness.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003E\u003Cem\u003EPlay on style, word play, or delirium\u003C\/em\u003E\u003C\/p\u003E\u003Cp\u003EI would condsider dice, in the symbolic acceptance of its six faces (mineral, vegetable, animal, human, psychological, divine), and the lyre, certainly, as symbols of cosmic harmony. Thus, the blow of delirium as a means of (\u201ccom\u201d ou \u201cap\u201d)prehension carries with it the order of meaning that constitutes it.\u003C\/p\u003E\u003Cp\u003EReturning to our affair, naturally, the affair of knowledge, but must it be considered as true? If internal normalcy in delusional thinking does not correspond to social standards, and if this thinking is exclusive to itself, we are in a sort of pathos, have no doubt about it. But if the notion of the model is involved when the frame is established in the way I previously put forward (though not completely developed), then we can, in the progression of the delirium, do creative work. To create is not to fill, it exists so that an empty place arises where desire takes root.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003E\u003Cem\u003EMas in his studio, called in French an \u201catelier,\u201d to consider as a link: \u201c\u00e0 te lier\u201d\u003C\/em\u003E\u003C\/p\u003E\u003Cp\u003EThe Pansemiotician will be that who, from a position: as artist, as scientist, as analyst (instituted social position) will lead progress by the transconceptual implementation of the data that he will have identified, suspected, digested, invented.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EOh! The excellent material leftovers of the Pansemiotician!\u003C\/p\u003E\u003Cp\u003EThere are only leftovers in the ranks of those who line up to say \u201cLet\u2019s sit at the table,\u201d let\u2019s say all, and afterwards everything will be better. Nails, and sure, but the consensus comes from there, we\u2019re usually pretty happy about it, because it is part of crucial attitudes. Orestes, this mythical character, represents in our eyes, he who ensures a fair conclusion. With him, the leftovers become evidence of his service, and by them, he ensures the take back of his due. What can the Pansemiotician take back?\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EHe can take back everything, it is not only the permanent coup d\u2019\u00e9tat in the sense of a seizure of power that would recover itself on its own, but also a necessity to say, I take back one. Because he who says zero, takes himself for God, and there, with mysticism, \u201cBets are off, the chips are down.\u201d\u003C\/p\u003E\u003Cp\u003EI have the distinct impression the put you in dangerous zones: mysticism, delirium, pathos, Orestes...Note, it is sometimes good to take them to later be able to play with them. This is nothing but reminders to those who want to listen, to articulate well. Because the Pansemiotic is also an affair of articulation, that is to say, of science.\u003C\/p\u003E\u003Cp\u003EThe Pansemiotic is an absolute science because it possesses in itself all its criteria for relevance. It is at the same time true science (effects of truth) and fair science (all can be explained by it), but it is not an exact science (each Pansemiotician being able to end up with different results.) I would even say that they have to end up with different results...On the other hand, the effects can overlap \u2013 this is a question of subject. It is of an absolute relativity.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EI will now give you a concrete example, on the theme \u201cPansemiotic and the unconscious!\u201d\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003ESee you, Pansemiotically.\u003C\/p\u003E\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EJean Mas\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n      \u003Cfigure style=\u0022width:500px;height:367px;\u0022\u003E\u003Cimg class=\u0022image grid_small\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_small\/public\/images-performance\/MASJ1989_PAN2_MASJ_PHOT_01.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022100\u0022 height=\u002273\u0022 alt=\u0022\u0022 title=\u0022Jean Mas | photographie de la performance \u0026quot;Pans\u00e9miotique\u0026quot;, 1989 | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_medium\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_medium\/public\/images-performance\/MASJ1989_PAN2_MASJ_PHOT_01.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022300\u0022 height=\u0022220\u0022 alt=\u0022\u0022 title=\u0022Jean Mas | photographie de la performance \u0026quot;Pans\u00e9miotique\u0026quot;, 1989 | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_large\u0022 src=\u0022\/sites\/default\/files\/styles\/grid_large\/public\/images-performance\/MASJ1989_PAN2_MASJ_PHOT_01.jpg\u0022 width=\u0022500\u0022 height=\u0022367\u0022 alt=\u0022\u0022 title=\u0022Jean Mas | photographie de la performance \u0026quot;Pans\u00e9miotique\u0026quot;, 1989 | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022blank\u0022 src=\u0022\/sites\/all\/themes\/gui\/perfarttimeline\/images\/blank.gif\u0022 width=\u0022500\u0022 height=\u0022367\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003Cfigcaption\u003EJean Mas | photographie de la performance \u0022Pans\u00e9miotique\u0022, 1989 | photographie : \u00a9 DR | courtesy de l\u0027artiste\u003C\/figcaption\u003E\u003C\/figure\u003E      \u003Cfigure style=\u0022width:500px;height:367px;\u0022\u003E\u003Cimg class=\u0022image grid_small\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_small\/public\/images-performance\/MASJ1989_PAN2_MASJ_PHOT_02.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022100\u0022 height=\u002273\u0022 alt=\u0022\u0022 title=\u0022Jean Mas | photographie de la performance \u0026quot;Pans\u00e9miotique\u0026quot;, 1989 | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_medium\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_medium\/public\/images-performance\/MASJ1989_PAN2_MASJ_PHOT_02.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022300\u0022 height=\u0022220\u0022 alt=\u0022\u0022 title=\u0022Jean Mas | photographie de la performance \u0026quot;Pans\u00e9miotique\u0026quot;, 1989 | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022image grid_large\u0022 src=\u0022\/sites\/default\/files\/styles\/grid_large\/public\/images-performance\/MASJ1989_PAN2_MASJ_PHOT_02.jpg\u0022 width=\u0022500\u0022 height=\u0022367\u0022 alt=\u0022\u0022 title=\u0022Jean Mas | photographie de la performance \u0026quot;Pans\u00e9miotique\u0026quot;, 1989 | photographie : \u00a9 DR | courtesy de l\u0026#039;artiste\u0022 \/\u003E\u003Cimg class=\u0022blank\u0022 src=\u0022\/sites\/all\/themes\/gui\/perfarttimeline\/images\/blank.gif\u0022 width=\u0022500\u0022 height=\u0022367\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003Cfigcaption\u003EJean Mas | photographie de la performance \u0022Pans\u00e9miotique\u0022, 1989 | photographie : \u00a9 DR | courtesy de l\u0027artiste\u003C\/figcaption\u003E\u003C\/figure\u003E  \n    \u003Csection class=\u0022field field-name-field-concepteur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ECreator\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean Mas\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-executant field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPerformer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean Mas\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-organisateur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EProducer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean Mas\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-effectuation\u0022\u003E\n  \u003Ch1 class=\u0022effectuation-title\u0022\u003E\u003C\/h1\u003E\n\n  \n    \u003Csection class=\u0022field field-name-field-topologie field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETopology\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Egallery\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-lieu field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPlaces\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EGalerie Lola Gassin\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-date-de-debut field-type-text field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EStarting date\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E1989\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-address field-type-addressfield field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EAdress\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Cdiv class=\u0022addressfield-container-inline locality-block country-\u0022\u003E\u003Cspan class=\u0022locality\u0022\u003ENice\u003C\/span\u003E\u003C\/div\u003E\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n\u003C\/article\u003E  \n    \u003Csection class=\u0022field field-name-field-sources-bibliographiques field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EBibliographical sources\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Ecit\u00e9 in \u003Cem\u003EPerformas, 40 ans d\u0027art d\u0027attitude\u003C\/em\u003E, Alain Amiel, 2010\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\u003C\/article\u003E","nid":"3235"}