Irene Sartoretti is an architect and a doctor in sociology. She is a researcher at the UPHF's Spatial Intelligence Chair and at the Chôros rhizome, and is also a consultant and scientific populariser. Her work lies at the crossroads between several disciplines. In particular, she questions the possibility of new forms of collaboration between the arts and social sciences. She is also interested in the relationship between spatial capital and self-construction.
Avec l’apport du rhizome Chôros. Presque 40 ans après, imaginons ce que serait le carrefour Mabillon sous la plume de Perec : “19 mai 2020. 3, 4, non 5 SUV défilent, les conducteurs aux visages masqués, au passage 3 piétons attendent le feu, chacun à distance. A chaque arrêt, la même appréhension : où se place-t-on [...]
How to produce a photographic essay with an esthetic, but also scientific, value? This is the starting point of our research on domestic interiors. By using photography as a method of analysis and at the same time communication, we wanted to explore links between furniture and great contemporary social issues, such as fragmentation of biographies, increasing mobilities, expanding possibilities of choice and ethic of individual performance. This article focuses on methodological choices regarding the use of photograph (comparability, neutrality [...]
Perfumes are not only perceptions but, above all, images. Because of the difficulty of describing olfactive sensations and of the necessity of co-presence, smells are expressed by synesthetic metaphors, especially between visual and olfactive dimensions. In order to associate, without ambiguity, the smell ant the other senses, conventions tend to overburden the realm of perfume. If smell was considered a system of communication in itself, what would be its semiology? [...]
Relationships between arts and sciences have been experiencing a long lasting misunderstanding. This situation notably derived from an underestimation of the role imagination plays in sciences and reflexivity in arts. If we accept the idea that sciences and arts both contribute, each in their own way, to the cognitive dimension of cultural productions, then we can more easily make visible many similarities and some differences between those two realms. As a result, a programme of interactions, translations, and hybridizations [...]
