Cet article propose une lecture du recueil Fantasia. Contes et l & eacute;gendes de l'intelligence artificielle de Laura Sibony & agrave; l'aune de la notion de non-lieu afin d'interroger les mutations contemporaines de l'espace et de la subjectivit & eacute; humaine & agrave; l'& egrave;re de l'intelligence artificielle. & Agrave; partir de quatre nouvelles repr & eacute;sentatives, l'analyse montre comment les environnements num & eacute;riques fonctionnent comme des non-lieux o & ugrave; l'humain n'habite plus, mais transite, se d & eacute;double ou se dissout. L'analyse s'inscrit dans un cadre th & eacute;orique croisant l'anthropologie du non-lieu, la philosophie de l'espace et une approche ph & eacute;nom & eacute;nologique de l'habiter, & agrave; partir des r & eacute;flexions sur la pratique de l'espace et l'exp & eacute;rience corporelle. This article proposes a reading of Fantasia. Contes et l & eacute;gendes de l'intelligence artificielle by Laura Sibony through the lens of the concept of non-place, in order to examine contemporary transformations of space and human subjectivity in the age of artificial intelligence. Drawing on four representative short stories, the analysis shows how digital environments function as non-places in which human beings no longer dwell, but rather circulate, split into doubles, or dissolve. The study is grounded in a theoretical framework that brings together the anthropology of non-place, the philosophy of space, and a phenomenological approach to dwelling, drawing on reflections on the practice of space and embodied experience.
This essay probes the condition of ‘unbelonging’ through the lens of Georges Bataille's heterology – a radical theory of otherness, of that which resists assimilation into ordered systems of knowledge, utility and meaning. Heterology, for Bataille, signifies not so much a conceptual opposition, but a structural transgression, an exposure to the unincorporable embodied by waste, abjection, the sovereign and the evil. The essay argues that the central aporia of Bataille's thesis emblematises the essence of unbelonging, which designates alienation as a volatile mode of being constituted through exclusion without ever attaining absolute exteriority. The argument unfolds through an interrogation of two pivotal figures in Bataille's thought: the Marquis de Sade and Gilles de Rais, both of whose transgressive acts embody the very core of heterology. Moving from their historical and literary legacies to wider philosophical implications, this essay traces how these figures operate as ruptures within the established order, as heterogeneous agents that disrupt coherence rather than reinforce it. Engaging closely with Bataille, alongside related thinkers such as Durkheim, Barthes, Lévinas and Baudrillard, this essay posits unbelonging as an ontological dissonance: a mode of being for whom the representational is perpetually inadequate. Unbelonging is not alienation in a classical sense, but a state of constitutive otherness, incompatible with the dialectics of recognition or integration. The essay concludes by returning to the inherent contradiction of heterology: its necessity to articulate that which resists all articulation, rendering the heterogeneous subject both indispensable and impossible. Extending the main thesis to a contemporary reality characterised by the destabilisation of norms, the essay questions the continued feasibility of a radical alterity, and whether unbelonging might now being taken to denote a silent retreat from the very logic of visibility.
Dans cette réflexion, je mets en exergue l’importance de la mise en relation créatrice de l’art algérien contemporain qui depuis les années 2000 s’est progressivement enrichi au contact de tendances internationales tout en se détachant de la tutelle étatique. Ce processus a permis une libération accrue de la pensée et de l’expression créatrice, sans pour autant rompre avec l’attachement au spécifique national hérité des artistes fondateurs. En cherchant à identifier ce qui permet aux artistes réunis dans l’exposition En attendant Omar Gatlato / Waiting for Omar Gatlato (2019–2023) de Natasha Marie Llorens de faire « corps commun », je lance l’hypothèse que son projet tend à dépasser les cadres esthétiques postcoloniaux dans lesquels l’art algérien est demeuré longtemps inscrit. Il s’agirait ainsi de mettre en lumière, simultanément, sa singularité propre et les multiples relations qu’il entretient avec la scène artistique internationale. Dès lors, l’exposition apparaît comme un moment significatif dans l’histoire de l’art algérien contemporain, en ce qu’elle donne à voir la pluralité des pratiques et la richesse des imaginaires des artistes algériens, qu’ils soient établis en Algérie ou au sein de la diaspora, réunis sous une même appellation d’ « art algérien ».
This article analyzes Les Pages Indochinoises as a key platform for colonial literary production in French Indochina. While promoting aesthetic exploration, the journal functioned as a colonial institution that legitimized a French-centered vision of Indochina and excluded Vietnamese voices. Drawing on literary field theory, postcolonial studies, and enunciative scenography, the study examines how the journal constructed symbolic capital through exoticism, editorial strategies, and the publication of special issues consecrating French authors. Particular attention is given to Eug & egrave;ne Pujarniscle, whose writings and critical reflections sought to define a colonial poetics grounded in ethical observation and aesthetic rigor. The article argues that Les Pages Indochinoises reveals both the mechanisms of symbolic domination and the ambivalent spaces of cultural transfer. By asking who speaks, for whom, and with what authority, this article demonstrates that Les Pages Indochinoises functioned not only as a stage of colonial discourse but also as a site of negotiation, tension, and literary experimentation.
