L’image du monde en son infinition. L’aléa dans la pratique filmique de Jacques Perconte

  • Rodolphe Olcèse Università di Saint- Etienne


This article aims to consider Jacques Perconte’s filmic practice in the light of the philosophy of Louis Lavelle. Jacques Perconte’s artistic approach takes note of the constraints specific to digital tools to lead them in front of territories which remain foreign to them. The work of this artist is characterized by the special attention she gives to the nature and to the experience of beauty. Jacques Perconte’s films also try to deliver the trace of an infinite movement by working on the notions of indeterminacy and randomness in computing process. Inscribing chance in the technical device of image allows Jacques Perconte to rediscover a specific character of the contemporary notion of landscape. It’s also a way to nourish an aesthetic experience which manifests a spiritual dimension of the human existence. The only pattern that the artist develops in all his films is the reality itself, always unpredictable, revealed to us in artistic expressions. In the perspective of the philosophy of Louis Lavelle, the work of Jacques Perconte becomes a way to explain the meeting and the communion of our consciousness and the world, using informational devices which habitually distract us from any kind of meeting with the sensitive.

Biografia autore

Rodolphe Olcèse, Università di Saint- Etienne

Professore di filosofia dell’arte e teoria del cinema all’Università di Saint- Etienne (Francia). La sua ricerca si concentra in particolare sull’immagine in movimento nelle pratiche artistiche contemporanee.

Come citare
Olcèse, R. (2021). L’image du monde en son infinition. L’aléa dans la pratique filmique de Jacques Perconte. Philosophy Kitchen - Rivista Di Filosofia Contemporanea, (14), 117-133. https://doi.org/10.13135/2385-1945/5876
II. Toccare il codice: processi e alea