https://www.peren-revues.fr/revue-k/140 Publications de Auteurs Alain Brossat fr 0 https://www.peren-revues.fr/revue-k/1537 This essay by Alain Brossat analyses the way in which artificial intelligence (AI) is already part of a logic of structural warfare. Far from being a neutral tool, AI is being mobilised from the outset by state and private powers in an arms race in which technological innovation is becoming a vector of conflict. The author shows that this dynamic reproduces the accelerationist pattern of capitalism, where innovation escapes any real regulation. He highlights the trivialisation of violence by so-called ‘intelligent’ technologies, which distance operators from the concrete effects of their actions. He denounces the dilution of human responsibility in a context of automated and derealised warfare. Far from bringing security or progress, military AI increases the risk of escalation and uncontrolled operations. The author also criticises the dominant engineering ideology, based on efficiency alone, to the detriment of any ethical or political reflection. He deconstructs the illusion of an AI “revolution”, preferring to see it as an extension of techno-capitalist power. Finally, he calls for a radical rethink of the links between science, technology and violence in the age of AI. mar., 01 juil. 2025 23:18:26 +0200 mer., 09 juil. 2025 14:46:10 +0200 https://www.peren-revues.fr/revue-k/1537 https://www.peren-revues.fr/revue-k/1200 This article focuses on the famous passage of Lucretius' On the Nature of Things where the poet reenacts in a blazing style Thucydides' description of the plague in Athens. The article lays the emphasis on the change of regime of narration of the disaster from the Greek historian to the Roman poet. The author also attempts to read Lucretius' purple passage in the light of the present pandemic – Covid 19. mar., 06 févr. 2024 09:00:02 +0100 mar., 06 févr. 2024 09:00:35 +0100 https://www.peren-revues.fr/revue-k/1200 https://www.peren-revues.fr/revue-k/1125 This article is about the paradoxical relationship of Malcolm X to Western philosophy. Throughout his Autobiography, Malcolm appears not only as an activist, as a revolutionary or revolutionist, but as some sort of a street (plebeian) philosopher assiduous in problematizing his own trajectory, his experience, his ordeals and his metamorphosis – a typically philosophical gesture. He refers to the Western philosophy he has become familiar with in prison, but he has to reinvent it completely so that he can make it its own, part of his « dream ». Therefore, he fantasizes about an « Oriental Socrates », a « Black Spinoza ». Philosophy is made of many more things than just academics, books and seminars. This is what Malcolm’s appropriation/hybridization of Western philosophy shows. mer., 24 janv. 2024 11:32:54 +0100 mer., 24 janv. 2024 11:33:14 +0100 https://www.peren-revues.fr/revue-k/1125 https://www.peren-revues.fr/revue-k/974 This article is about the status of myths in contemporary Western societies, on how myths have withered and degraded into stories and shows; how the sublime monster of the myth has become either a pallid criminal or a feminist heroine, that is a character that belongs to the chronicle of the darkest of current events. Medea has lost her panache – she has become an infamous woman – in reference to Foucault’s “infamous men”. mar., 16 janv. 2024 10:49:52 +0100 mer., 17 avril 2024 08:42:54 +0200 https://www.peren-revues.fr/revue-k/974 https://www.peren-revues.fr/revue-k/895 In this article, the author argues that what makes Pinocchio fascinating in today’s context is the constant process of mutations he is involved in, a process that can be envisioned from many angles – metamorphosis from a species to another, animal-becoming, escape lines, etc. Pinocchio is a troublemaker in family as in society for he is an ill-born child, some sort of a prematurate whose fate is to be acosmic, uncontrollable, recalcitrant. Collodi’s novel constantly swings from road movie to tale of terror and this is what makes it so attractive for the children, readers or listeners and for the adults, storytellers. Any reader or listener can see that its happy ending is nothing but scam and lie so that the the show can go on endless – Pinocchio’s quietening is just a pretence, a lull in anticipation of new misconducts and dissolute behaviors ; for Pinocchio is incorrigible and irredeemable – yesterday’s and today’ riffraff... lun., 15 janv. 2024 11:38:19 +0100 lun., 15 janv. 2024 11:38:31 +0100 https://www.peren-revues.fr/revue-k/895 https://www.peren-revues.fr/revue-k/671 mer., 10 janv. 2024 12:22:52 +0100 jeu., 15 févr. 2024 17:49:01 +0100 https://www.peren-revues.fr/revue-k/671 https://www.peren-revues.fr/revue-k/552 If Charlie is not only a myth but a living myth, then we have to reckon that, as such, he still overhangs and haunts us to such an extent that we repeatedly fail in making of him just an object of research, inert, available, docile. Even his short cut moustache is still alive, as an emblem of what Adorno calls damaged life. As a tramp (indefinite, undefined) rather than the tramp (a symbol or an allegory), Charlie has become the quintessential underdog, the plebs of the world, relentlessly ill-treated but obstinately resilient. He saves us from resignation, submissiveness and despair. mer., 03 janv. 2024 09:46:47 +0100 mer., 05 juin 2024 13:45:49 +0200 https://www.peren-revues.fr/revue-k/552 https://www.peren-revues.fr/revue-k/486 In this article on The Son of Spartacus, a sword and sandals movie by the Italian filmmaker Sergio Corbucci, the author focusses on the ambivalence of pepla as both commercial/popular films and “suggestion boxes” – they are intended for entertaining the general public by staging Antiquity in a lavish and ornamental style, but simultaneously, they “make us think” on our present condition by raising essential questions that directly clip on our “problems” with politics, ethics, history, the government of the living, civilization and barbarity, etc. In The Son of Spartacus, Corbucci insistently deals with what Walter Benjamin call “the tradition of the oppressed”. Sword and sandals films are made of an inextricable entanglement of ornamental effects and “ideas” (Deleuze) – and this is what makes them so exciting. jeu., 30 nov. 2023 11:44:43 +0100 mar., 13 févr. 2024 09:50:49 +0100 https://www.peren-revues.fr/revue-k/486 https://www.peren-revues.fr/revue-k/289 Marilyn doesn't exist – except as what the German sociologist Klaus Theweleit calls “Männerphantasie(n)”, male fantasies, that is a jumble made of torrid images, cheap obsessions, repressed urges and obscure desire... Marilyn is a Hollywoodian ready-made, a pure artefact, a jingle associated with imaginary pleasures and extreme lust. Marilyn is sham and pretence, a pure illusion but, what she extols as such is what Deleuze calls “the power of metamorphosis” (les puissances du faux), sheer intensity, pure expressiveness of the male fantasy. Marilyn doesn't exist, and this is why she is more than real, surreal. mer., 29 nov. 2023 11:41:45 +0100 ven., 09 févr. 2024 15:47:32 +0100 https://www.peren-revues.fr/revue-k/289 https://www.peren-revues.fr/revue-k/185 This article deals with guilt and shame as the unifying threads of Kafka's novel The Trial. What is the object or the ground of guilt - what makes it arise? Or it is maybe rather some sort of a mood, an inclination - unrelated to any distinct object? How does shame as a "pure affect" appear as the Doppelgänger of guilt and projects it into the ontological dimension? Shame is a breach that opens up in the fortress of the human subject and this is why guilt appears to be, at the end, unescapable. mar., 28 nov. 2023 16:26:18 +0100 lun., 12 févr. 2024 13:54:54 +0100 https://www.peren-revues.fr/revue-k/185