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Bilan de projet, résidence-chercheur subventionnée CollEx-Persée, Théâtrothèque Gaston Baty, Université Sorbonne Nouvelle (France).

This article aims to review the representations of the exceptional mosaic found in the vicinity of the Kornmarkt in Trier, which, since its discovery, has been subject to different interpretations. Undoubtedly, the unique character and the inexplicable, at least in appearance, conjugation of the two main scenes, with various inscriptions, in the two large concave octagons that stand out in the geometric scheme of the field, that is, a scene perhaps of sleight of hand and another of mythological inspiration with the birth of Helena, have given rise to theories, among others, as opposite as the representation of a mystery cult and, in the completely opposite sense, another that identifies it as an expression of the mockery of traditional cults from the most critical Christian sectors of Augusta Treverorum. In this paper, however, the analysis of the figures contained in the geometric compartments in the shape of a circle and a spindle, with servants and saltatrices, who are also identified by epigraphs with their own names, sheds light on the interpretation of the mosaic. In this regard, the consideration of some parallels for the figures of servants and saltatrices, as well as information from literary sources and the context of the ancient Augusta Treverorum in which the mosaic was commissioned are equally revealing when drawing our conclusions. on the identification of a banquet, including the entertainments of the comissatio Bu makale, keşfedildiği günden bu yana farklı yorumlara konu olan Trier’deki Kornmarkt civarında bulunan sıradışı mozaikteki temsilleri incelemeyi amaçlamaktadır. Kuşkusuz, alanın geometrik şemasında öne çıkan iki büyük içbükey sekizgende benzersiz karakter ve en azından görünüşte, iki ana sahnenin çeşitli yazıtlarla birleşimi, iki büyük konkav oktagonda yer alan bir sihirbazlık ve Helena’nın doğumundan ilham alan bir mitolojik sahnenin yer aldığı sahneler, bir gizem kültünün temsili ya da Augusta Treverorum’un en eleştirel Hristiyan kesimlerinin geleneksel kültlere karşı takındıkları alaycı tavır gibi birbirine zıt yöndeki pek çok teorinin ileri sürülmesine neden olmuştur. Ancak bu makalede, kendi isimleriyle kitabelerle de tanımlanan daire ve iğ şeklindeki geometrik bölmelerde yer alan hizmetli ve saltatrice figürlerinin analizi, mozaiğin yorumuna ışık tutmaktadır. Bu bağlamda, hizmetçi ve saltatrice figürleri ile edebi kaynaklardan alınan bilgiler ve mozaiğin yer aldığı antik Augusta Treverorum’un bağlamı için bazı paralelliklerin dikkate alınması, comissatio eğlenceleri de dahil olmak üzere bir ziyafetin tanımlanması hakkında sonuçları çıkarırken eşit derecede açıklayıcıdır.

Both idealized and stigmatized, fairground entertainments have gone through a rise up period at the turn of 19th and 20th centuries. The aim is to consider the fairground entertainments with regards to the many legal and social restrictions placed on theirs makers. These shows deal with social issues and integrate medical and technological progress. Thus, the entresorts, the magnetism sessions, or the stagings of actualities are fully integrated into the spectators daily life, and it demonstrates the mutual influences between fairground performers and the scientists. Then, fairground entertainments are strongly diverses and still an inspiration to many artists, in particularly on the theatre stage.; Tantôt idéalisés, tantôt stigmatisés, les spectacles forains ont traversés une période d’essor au tournant des XIXe et XXe siècles. Il s’agit de contextualiser la création spectaculaire foraine au regard des nombreuses restrictions juridiques et sociales qui incombent les forains eux-mêmes. Ces spectacles abordent des questions sociales et intègrent les progrès médicaux et technologiques dans leurs mises en scène. Par conséquent les entresorts, les séances de magnétisme, ou encore les mises en scène de faits divers s’inscrivent pleinement dans le quotidien des spectateurs, et témoignent des influences mutuelles entre les forains et les scientifiques. La création spectaculaire foraine se révèle variée, et laisse la place à un imaginaire qui perdure dans la création contemporaine, notamment théâtrale.

Alors qu’il est directeur adjoint au laboratoire de psychologie physiologique de la Sorbonne, Alfred Binet (1857-1911) décide, en 1894, d’étudier une nouvelle population de sujets : les prestidigitateurs. Pour réaliser cette étude, il a recours à des magiciens professionnels de renom, notamment Gustave Arnould (1850-1920) et Edouard-Joseph Raynaly (1842-1918). Mais surtout il décide d’utiliser avec l’aide d’un ancien collaborateur d’Etienne-Jules Marey (1830-1904), Georges Demenÿ (1850-1917), un appareil nouveau : le chronophotographe. En effet, pour réaliser cette étude, Binet se sert de la chronophotographie qui permet de décomposer les mouvements rapides et imperceptibles à l’œil nu. L’utilisation de cette technique lui permet de souligner l’implication de certains mécanismes psychologiques dans les tours de magie ; mécanismes qui sont encore étudiés dans les recherches actuelles, comme le détournement d’attention, mais aussi le boniment ou le recours à des écrans. Dans cet article, nous mettons en perspective certaines conclusions de Binet avec les travaux actuels sur la psychologie de la prestidigitation. Nous présentons ensuite le cheminement ayant conduit Binet à l’utilisation de la chronophotographie pour étudier la magie. When he is the deputy director of the Laboratory of Physiological Psychology at the Sorbonne in 1894, Alfred Binet (1857-1911) decides to study a new population of subjects: the magicians. In order to achieve his investigation on magicians, he relies on well-known professional magicians, notably Gustave Arnould (1850-1920) and Edouard-Joseph Raynaly (1842-1918). But above all, he decides to use, with the help of a former collaborator of Etienne Jules Marey (1830-1904), George Demenÿ (1850-1917), a new apparatus: the chronophotograph. Indeed, chronophotography allows Binet to decompose fast moves, which cannot be seen with the naked eye. The use of this technique allows him to highlight the role of certain psychological mechanisms involved in magic tricks (e.g., the misdirection principle, the role of patter or the use of screens) and that are still studied these days. In this article, we put Binet’s conclusions and actual studies in this field in perspective. We also present how Binet decided to use chronophotography to study magic.

Cette contribution porte sur la métaphore du prestidigitateur appliquée à la rhétorique. L’art de l’illusion n’était pas transmis par écrit ; on peut donc le reconstituer seulement par voie indirecte, à travers d’occasionnelles citations ou des métaphores. En latin, les principaux mots qui indiquent le magicien sont : magus, circulator et praestigiator. Circulator et praestigiator sont employés pour des métaphores négatives de l’orateur. Bien qu’ils soient synonymes, ils couvrent cependant des domaines sémantiques un peu différents. Sur le circulator, la condamne est esthétique ; dans le cas des praestigia, les implications sont surtout éthiques. This contribution bears on the metaphor of the conjurer applied to rhetoric. The art of delusion was not transmitted through writings ; it can therefore be reconstituted only in an indirect way by means of occasional quotations or metaphors. In Latin, the chief words that refer to the conjurer are : magus, circulator, and praestigiator. Circulator and praestigiator are used as negative metaphors of the orator. Synonymous as they may be, they yet cover somewhat different semantic areas. About the circulator, the indictment is aesthetic, in the case of the praestigia the implications are chiefly ethical.

International audience; This paper presents two unpublished manuscripts of René-Just Haüy (1743-1822). They display the change of status of experimental physics at the end of 18th century France. A youthful manuscript describes a conjurer trick based on magnetism with the pleasure of a mysterious experiment. The manuscript of his first lesson on magnetism at the Ecole normale (1795), when a recognised scientist, blames any appeal to "magical art" in physics and lays down the distinction between a physicist and a charlatan, as a conjurer. From then on physics teaching has to dismiss spectacle and to resort to mathematics.; Cet article présente deux manuscrits inédits du physicien René-Just Haüy (1743-1822) qui témoignent du changement de statut de la physique expérimentale en France à la fin du XVIIIe siècle. Un manuscrit de jeunesse décrit un tour d'escamoteur fondé sur les propriétés des aimants avec le plaisir d'une expérience mystificatrice. Le manuscrit de sa première leçon sur le magnétisme à l'Ecole normale de l'an III (1795), alors qu'il est devenu un savant reconnu, critique en revanche tout recours à un "art magique" en physique et établit la distinction entre le physicien et le charlatan, au sens d'escamoteur. Le refus du spectaculaire et l'appel aux mathématiques sont désormais constitutifs de la physique qui s'enseigne.

Trabajo Fin de Grado-Universidad de Salamanca, 2014, [ES] El presente Trabajo Fin de Grado trata sobre la aplicación de la magia en la escuela, y cómo ésta puede favorecer el desarrollo integral de los alumnos. Tras hacer un viaje por la historia de la magia, se exponen sus aplicaciones en la educación y su consideración artística como llave para el aprendizaje. La usanza práctica que se ha elaborado, se ha dirigido, mediante la aplicación de tres sesiones, al grupo de 24 alumnos pertenecientes al Segundo Ciclo de Educación Infantil del CEIP La Viña en la ciudad de Zamora. Finaliza el trabajo, exponiendo la metodología seguida en la propuesta educativa, las conclusiones y reflexión de la autora., [EN] This Final Project discusses the application Magic in school, and how it can promote the comprehensive development of students. After a trip the history of magic, their applications are discussed in education and artistic consideration as key for learning. Fashioned practice which has developed, it has been directed by the application of three sessions, the group of 24 students from the Second Cycle Childhood Education CEIP La Vina in the city Zamora. Finish the job by exposing the methodology followed in the educational proposal, conclusions and reflection of the author.

The survival of magician's magic : the dilemma of the influence of technology on the art of magician's magic. Magic as a performing art has been an interpersonal medium for centuries. In the early 1930s close-up, face-to-face magic had to make way for large-scale illusions on television. As a result of the immediacy of face-to-face magic, magician's magic used to rely on split-second timing and tremendous expertise and skills on the part of the magician. The interpersonal presentation of the art of magic has a persuasive effect that is instantaneous and guaranteed to be authentic. The fact that the illusion is created right in front of one's eyes and in one's presence makes it a highly authentic product created mainly through the skill of the conjurer. This is no longer true today. With its large-scale illusions and television effects, the migration of the art of magic to television has made the art of prestidigitation a mere documentary-drama (docu-drama). With the advent of television, approaches to acting, directing, and prestidigitation have changed tremendously. The use of establishing medium and close-up camera shots creates a sectional analytical montage with an integration to a higher level of meaning (Barthes 1988:101) than that of a stage show. Although television as a medium has made it easier for magicians to produce a magic show using the advanced technology of audiovisual media, it also reinforces the perception that illusions are created by using special cinematographic effects. Therefore, television presents magicians with a fundamental problem in persuading the audience of the authenticity of the art of magic within this new medium. To date there has been a certain level of success with magic on television and via the internet when one considers that it has made famous magicians out of David Copperfield, Pen and Teller, Criss Angel, David Blane as well as South Africa's Martino and Wolfgang Riebe. These magicians have successfully adapted stage magic to television. This article presents a critical descriptive overview of the measures taken by magicians to adapt magic shows from theatres to audiovisual media in a way that encourages people to suspend their disbelief. It also analyses the implications of the invasion of television into the technical art of magician's magic for the survival of magic as an art form through a listing of fundamental problems in this adaptation process. An overview is provided of the history of magician's magic on an interpersonal face-to-face level in theatres and this highlights the techniques used by magicians in this environment. The article further explores the problems that practitioners of the art of magic encounter in its adaptation from stage to screen by reviewing some of the most prevalent dilemmas regarding the use of special effects in television and film. Lastly, insight is provided into the measures that magicians take to curb the audience's perception that special effects are responsible for creating the magic within audiovisual media. http://reference.sabinet.co.za/webx/access/electronic_journals/akgees/akgees_v54_n2_a12.pdf

Visual, multisensory and cognitive illusions in magic performances provide new windows into the psychological and neural principles of perception, attention and cognition. We investigated a magic effect consisting of a coin vanish (i.e. the perceptual disappearance of a coin after a simulated toss from hand to hand). Previous research has shown that magicians can use joint attention cues such as their own gaze direction to strengthen the observers’ perception of magic. Here we presented naïve observers with videos including real and simulated coin tosses to determine if joint attention might enhance the illusory perception of simulated coin tosses. The observers’ eye positions were measured, and their perceptual responses simultaneously recorded via button press. To control for the magician’s use of joint attention cues, we occluded his head in half of the trials. We found that subjects did not direct their gaze at the magician’s face at the time of the coin toss, whether the face was visible or occluded, and that the presence of the magician’s face did not enhance the illusion. Thus, our results show that joint attention is not necessary for the perception of this effect. We conclude that social misdirection is redundant and possibly detracting to this very robust sleight-of-hand illusion. We further determined that subjects required multiple trials to effectively distinguish real from simulated tosses; thus the illusion was resilient to repeated viewing.

Cet article compare les approches divergentes de deux catégories de prestidigitateurs : des artistes de variété qui se servent de l’illusionnisme pour divertir et des apôtres du christianisme qui se servent de l’illusion pour évangéliser. Au lieu de présenter leurs illusions comme une démonstration d’adresse, ces gospel magicians (prestidigitateurs évangéliques) s’en servent de manière figurée pour imager des histoires et des leçons qui véhiculent un message chrétien. Niant avec insistance des pouvoirs surnaturels et évitant scrupuleusement les effets qui ressemblent à des miracles bibliques, ils prennent soin de présenter leurs tours comme des spectacles habiles sans ambiguïté ayant pour but de divertir, de galvaniser et d’instruire. Comme leurs homologues séculiers, les magiciens évangéliques proposent des tours empreints de virtuosité. Mais tandis que les magiciens séculiers célèbrent la virtuosité comme élément central de la magie, les magiciens évangéliques minimisent son rôle. This article compares the approaches of two different classes of magicians: entertainers who use illusion to entertain and apostles of Christianity who use illusion to evangelize. Instead of presenting their illusions as a demonstration of skill, these gospel magicians use them as a way of imaging figuratively the stories and lessons that carry a Christian message. Emphatically denying supernatural powers and scrupulously avoiding any effects that resemble biblical miracles, they take care to present their performances as clever tricks clearly designed to entertain, educate and galvanize. Like their secular counterparts, gospel magicians propose tricks full of virtuosity. But while secular magicians celebrate virtuosity as a central element of magic, gospel magicians minimize its role.

Cet article compare les approches divergentes de deux catégories de prestidigitateurs : des artistes de variété qui se servent de l’illusionnisme pour divertir et des apôtres du christianisme qui se servent de l’illusion pour évangéliser. Au lieu de présenter leurs illusions comme une démonstration d’adresse, ces gospel magicians (prestidigitateurs évangéliques) s’en servent de manière figurée pour imager des histoires et des leçons qui véhiculent un message chrétien. Niant avec insistance des pouvoirs surnaturels et évitant scrupuleusement les effets qui ressemblent à des miracles bibliques, ils prennent soin de présenter leurs tours comme des spectacles habiles sans ambiguïté ayant pour but de divertir, de galvaniser et d’instruire. Comme leurs homologues séculiers, les magiciens évangéliques proposent des tours empreints de virtuosité. Mais tandis que les magiciens séculiers célèbrent la virtuosité comme élément central de la magie, les magiciens évangéliques minimisent son rôle.This article compares the approaches of two different classes of magicians: entertainers who use illusion to entertain and apostles of Christianity who use illusion to evangelize. Instead of presenting their illusions as a demonstration of skill, these gospel magicians use them as a way of imaging figuratively the stories and lessons that carry a Christian message. Emphatically denying supernatural powers and scrupulously avoiding any effects that resemble biblical miracles, they take care to present their performances as clever tricks clearly designed to entertain, educate and galvanize. Like their secular counterparts, gospel magicians propose tricks full of virtuosity. But while secular magicians celebrate virtuosity as a central element of magic, gospel magicians minimize its role.

Par M.r Decremps, Frontispiz, Titeleinfassung, Aus dem Vorbesitz des Klosters Rheinau