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Abstract: What are we subject of? This major question works the work of Beckett in such a stubborn way that the reader, witnessing a vital fight of which he does not perceive the challenge, is embarrassed. If the desire to rise the subject is the cause, how to localize it? Mindful not to deflect Beckett from his own personal approach, we will examine him through his reading of Proust. Whereas Proust purports to save love, Beckett saves the body. From this perspective, we will read Watt, Molloy and The Unnamable, focusing closely on the bodies and the way the objects, which will direct them in the space that they will define, are chosen. Becket does not deduce that these objects are assumed by a subject, or even that these objects imply a subject; he supposes a body which assumes a topological subject. Thus, by tracking the objects provided by the body, Beckett gets the subject''s saying. In doing so, one wonders if the subject of the science with Proust is not replaced by the body of the science with Beckett. Thus, Proust did not affect Beckett; his analysis has determined his ethical stance as shown. Yet, in writing, Beckett keeps on a subject still possible. [Copyright &y& Elsevier]

Abstract: In the era of cyber culture and collective intelligence, video game establishes itself more and more nearby the artistic disciplines historically settled. Its aesthetics and its way of revisiting the real reveal a new “formal representation” and an increasing number of contemporary artists use it as an expression mean. The spatial development of video games is comparable to contemporary installations; it presents itself as a distinctive space recreated into a public or a domestic dimension. Video games, like installations, intensify the feeling of displacement or ubiquity that any kind of show may provide. The installations using video games mechanism make us pass from the idea of “esthetique relationnelle” introduced by Nicolas Bourriaud to a participative aesthetics where the spectator takes the place of the protagonist. The analyze of different works: “Vigilance 1.0” of Martin Le Chevalier, Kolkoz in “Hong Kong 2002”, “Nekropolis” of Tobias Bernstrup, and “Sam” of Palle Torsson shows some examples of reappropriation and diversion of the video games universe in contemporary art. Those examples allow us to see in a new way the world of video games. The contemporary artists appropriate this form of expression to make new plastic and participative explorations far of from the first play and entertainment finality. In these pieces the role of the spectator in the device is fundamental and it produces a total experience mobilizing at the same time: the vision, the hearing and the touch. The video game represents a post-modern form where contemporary artists may express the idea of “Gesamtkunstwerk” evoked by Richard Wagner in the second half of the XIX century with his theory of the “complete art work piece”. We are witnessing a turning point in the way of experimenting life which consists in interrogating the body into space and time in synaesthesia. Contemporary artist seem indisputably to make their own the Duchamp''s words: “the viewers are the ones who make the painting”, the art of work remains unfinished until the spectator hasn''t received it, the viewer turns up into an actor in a spectacular dynamics and his relation to the work of art goes beyond a simple passive contemplation. [Copyright &y& Elsevier]