|Gabrielle Decamous||Last modified date：2021.07.14|
Associate Professor / Faculty of Languages and Cultures / Department of Multicultural Society / Faculty of Languages and Cultures
|1.||Decamous Gabrielle, Art, Censorship, and Nuclear Warfare, MIT Press, Online, 2020.02.|
|2.||Gabrielle Decamous, "Multiculturalism and Education: The Challenges of International Programs", Kyushu University Press, 2014.03.|
|3.||Gabrielle Decamous, "Bridging the Gap: Art, Science, Philosophy – Modernity in Question", The International Journal of the Humanities, 9, 8, 183-194, 2012.05, [URL], In 1958, for a international conference titled Man and the Atom, physicist Werner Heisenberg argued that modern physics and its applications have overcome and renewed philosophy from Antiquity to Kant in the dispute over the formation of matter. He even asserted that the arts themselves, should consider the changes that occurred in the scientific view of nature. While few years earlier, in The Question Concerning Technology, Martin Heidegger defined the essence of modern technology as an ‘enframing,’ a limitation, when humans are challenged by themselves and nature more than the other way around, and saw in art a ‘saving power’ against this enframing of technology.
This paper will consequently consider the interaction between the three fields: modern science, philosophy and the arts, and will show how, in spite of all appearances, these fields are not as distant and autonomous as usually assumed. My argument is that they jointly participated (willingly or not) to the western project of modernity, and that it becomes necessary to reconsider this joint project in our global and contemporary context..
|4.||Gabrielle Decamous, "Nuclear Activities and Modern Catastrophes: Art Faces the Radioactive Waves", MIT Press, 44, 2, 124-132, 2011.04, [URL], Nuclear-related artworks provide a favorable terrain for investigation of our contemporary epoch, for they relate to a science whose applications are highly political and that is spreading beyond the western world. in times of global warming, indeed, the prospect of nuclear energy reappears as the latest sought-after modern technology. But after Hiroshima and Chernobyl, and given the dualistic civilian and military use of the atom, how do artists react to nuclear activities and their inherent politics? Can art provide an effective counter- practice to global nuclear politics? the author argues that art and science share the same project—the modern project—and that art, like science, has to question its modern heritage..|