Drawing on the field of nuclear semiotics, this article critically discusses the classic problem of marking the location of a deep geological repository to communicate – in the distant future – its presence and potential threats to intruders. The article is divided into two parts. The first part reviews some site-marking solutions that have been proposed in the nearly 40 years of nuclear semiotics’ existence. These solutions are analyzed through the lens of semiotics of space and memory, highlighting different ideas about the purposes of site-marking, ranging from the idea of communicating a warning message to that of transmitting a memory. The second part addresses these strategies of memory transmission by examining some recent “speculative experiments” that use art to convey information about nuclear repositories to future generations. This part of the article examines artistic proposals submitted to a competition organized by ANDRA (the French Agency for Nuclear Waste).
L’article veut interroger les façons dont le numérique contribue à construire de nouvelles perceptions visuelles du corps. Il s’agit de repousser les limites du corps et de faire-faire de nouvelles expériences esthétiques et esthésiques du corps à un autre corps. L’expérience virtuelle corporelle n’est pas synonyme de disparition physique mais d’ouvertures possibles du sens grâce à une polysensorialité augmentée et démultipliée. Nous avons travaillé sur trois artistes contemporains N. Tran Ba Vang, K. Cottingham et Y. Matoba qui, à leur manière, se sont interrogés sur les rapports entre la construction et la perception de l’œuvre contemporaine.
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