Performance art with a “low artistic coefficient of visibility”.

Two interviews in which Carmelo Bene exposes his working method and his ideas on television, and opens a reflection on the links between artistic avant-gardism and mass diffusion.

The great Brazilian critic Mário Pedrosa (1900-1981)'s farewell to art criticism, written to his countrymen in the manner of Montesquieu's Persian Letters.

Two studies by the pionneer of the popular music studies.

The French choreographer looks back on his career in a very personal text, both playful and poetic.

A collection of theoretical texts by the German composer: a valuable testimony of his research on the musical link between sound and body.

How the impact of code on everyday life has become comparable to that of speech and writing.

Nicolas Bourriaud invites artists from all around the world to question the contemporaneity of the romantic concept of the sublime, at the age of the anthropocene.

Nicolas Bourriaud invites artists from all around the world to question the contemporaneity of the romantic concept of the sublime, at the age of the anthropocene.

A reflection on the domination of the software industry on our use of computers, which calls for a stimulating reinterpretation of materialism.

An essay on the concept of utopia today, more relevant than ever at the time of the economic, social, ecological and intellectual crisis.

The aesthetics of Gilles Deleuze.

Through a new reading of the Notebooks of Vaslav Nijinsky, who was described as "insane", and by taking them out of their reduction to a psychiatric diagnosis, Madeleine Abassade reveals the dancer's revolt against an established order of which he was the instrument and from which he sought to emancipate himself by creating his own choreographies.

The art of the tuning fork: the manifesto of the sound artist, performer and composer Nicolas Bernier.

A journey through the painted work of the Israeli artist, writer, visual analyst, psychoanalyst, philosopher and feminist theorist, through a set of reproductions and texts by Jean-François Lyotard, Nicolas Bourriaud, Noam Segal, Amelia Jones, Precious Okoyomon and Bracha L. Ettinger herself.

A fascinating exploration of the utopian origins and tumultuous 130-year history of the largest and longest-lived artists' community in the world.

A collection of texts about time and artists working with it.

A collection of texts about space and artists working with it.

An anthropologist's view of contemporary African creation.

This manual provides the current state of knowledge on the functioning of nature in an urban environment: its ecology.

The multiple faces of popular dances in contemporary choreographic creation.

Vegetal life at the forefront of philosophical thought.

The Nietzschean notion of superman and the very real effects of the virtual, the networks, the digital image and the video game in human interrelationships: a striking essay resulting from the posthumously defended thesis of Benjamin Lavigne (1981-2020), which draws up a singular, committed and rigorous critic of the technological foundations of contemporary society.

20 proposals for the intersection of artistic practice and research in academic milieu.

A reflection on the aesthetic stakes of baroque dance, resituated in the vast field of contemporary dance.

The complex architectures of the new “memory palaces”, from libraries, archives and museums to the IT structures, databases and server farms that feed the flow of data on the network.

A reflection on the stakes of the analysis of dance works and the education of the gaze.

A study attempting to put the authorship of God back into perspective with the help of new sources and to explain why this is actually a work by Morton L. Schamberg.

Stefan Banz has brought together and evaluated all the relevant documents and sources relating to Fountain by Richard Mutt alias Marcel Duchamp. At least one thing is certain after reading them: Elsa von Freytag-Loringhoven had definitively nothing to do with the creation of Fountain. In addition, Banz has succeeded in writing a highly inspiring book containing many new and revealing ideas that present this work of the century in a much more differentiated light.

Thinking design with philosophy (a teaching manual).

An overview of the experimental sound practices today (contributions by Jean-Yves Bosseur, Pierre-Albert Castanet, Bertrand Denzler, Bastien Gallet, Jean-Luc Guionnet, Fabien Hein, Michel Henritzi, Tom Johnson, Eric La Casa, Lionel Marchetti, and Matthieu Saladin).

An essay on dancing corporality as a complex system of interacting elements.

Analyzing his own work but also the emblematic works of Brazilian artists Luiz de Abreu, Micheline Torres and Marcelo Evelin, the dancer and choreographer Volmir Cordeiro invents here, through writing, a sensitive form where creation is inextricably linked to his position as a researcher and to his view as a spectator

Art as a set of practices which take as their theoretical and practical point of departure the whole of human relations and their social context: the manifesto that has renewed the approach of contemporary art since the 1990s.

The second volume of a diptych dedicated to the question of the memory of works in dance.

The first volume of a diptych dedicated to the question of the memory of works in dance.

Learning jazz dance.

Amateur practices in contemporary dance.

Historical and aesthetic approaches of jazz dances.

A philosophical and artistic questioning on the singularity of the notion of time in contemporary dance.

The sound arts and experimental music annual review's 4th issue, on the theme of utopias.

A series of previously unpublished lectures by American dancer Jerome Andrews, from 1968 to 1980.

A collective essay focusing on the intersections between contemporary dance and literature.

A fascinating reflection on the reception of butoh dance in France.

Collection of essays on dance revolving around the notion of “body.”

French dancer and choreographer reports on various relationships to the movement in dance, relying as much on classical and contemporary performances as on concepts borrowed from philosophers, linguists and art theorists.