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of these “effects”
involves working ahead of discursive logic alone, at
the level of what Lyotard [LYO 88] called the “figural”.
An ideographic presentation of catastrophes enables them to be
treated in a figural manner, that is to say in such a way that the
meaning does not follow a linear logic, but spreads and contracts,
comes and goes (from one graphic region to another), assembles and
rises (from aspects of the figures), sequences and contemplates (from
more or less prolonged moments of attention), and joins and separates
(meanings). In other words, the figural space, because it gives priority
to looking over listening, tends to favor the activity of the receiving
subject over that of the emitting subject. In doing this, it displaces the
action of interpretation. It is no longer the analysis (the author's
interpretation) that takes priority, but the “catalysis” (the mobilization
of the interpretative capacity). Indeed, the skill of overcoming
divergences in perception and reception - of reorganizing the social
consensus and the relationship with the environment in times of
controversy - is at the heart of relationships to major disasters,
whatever the societies concerned. Thus, in the face of catastrophes, it
is not the trajectories of the interpretation of disaster that prevail, but
the interpretative systems of action to which they belong. It is not their
explanation that takes priority, but the ability to have a “grip” on
them: to be able to take hold of them (a technical register), understand
them (a symbolical register) and also to have an understanding of the
other forms of grasping them (cultural register).
7.7. Bibliography
[AUG 11] A
UGENDRE
M., “Risques et catastrophes volcaniques au Japon:
enseignements pour la géographie des risques”, in N
OVEMBER
V.,
et al.
,
(eds.),
Habiter les territoires à risques
, PPUR, Lausanne, pp. 185-206,
2011.
[AUG 12] A
UGENDRE
M.,
Kyôson,
共存
: la coexistence
, Nichibunken,
Kyoto, 2012.
[BEC 01] B
ECK
U.,
La société du risque. Sur la voie d'une autre modernité
,
Aubier, Paris, 2001.
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