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On ne compte plus aujourd'hui les appels à repenser l'innovation. Il y aurait urgence écologique. Et certains n'hésitent pas à prédire la fin du monde à moins d'une rupture radicale de nos modèles de croissance. Alors que chaque nouvelle génération de téléphone ou d'ordinateur est célébrée comme si elle constituait un progrès décisif pour l'humanité, le low tech à l'inverse, cet ensemble hétérogène de techniques, de modes de composition alternatifs, définis tantôt négativement (pauvreté ou économie de moyens) tantôt positivement (faire beaucoup avec peu de choses, faire avec ce qu'on a, faire plus local et plus participatif, etc.) viendrait partout ébranler la toute puissance du high tech. Avec lui, ce ne sont pas seulement une autre lecture des techniques et d'autres façons de concevoir qui se donnent à voir, mais des population entières d'hommes et de procédés, dont le rôle a bien souvent été sous-estimé, de l'Inde à l'Afrique en passant par l'Asie. L'objectif de ce numéro n'est pas de cataloguer les formes de résistance ou d'invention très diverses que recouvre l'étiquette de low tech, mais plutôt de poser les bases d'une cartographie alternative des modes d'assemblage à l'échelle planétaire, et de donner des outils pour mieux penser des manières de fabriquer qui échappent à toute classification.

International audience

* INRA, Laboratoire de Zoologie, 86600 Lusignan (FRA) Diffusion du document : INRA, Laboratoire de Zoologie, 86600 Lusignan (FRA) Diplôme : Maîtrise

The pattern of the temporal distribution of solid cancer incidence after irradiation in childhood is not well known, although, its importance in radioprotection is well known. We studied a cohort of 1,055 children from 8 European cancer centres, who received radiotherapy between 1942 and 1985 for a first cancer in childhood. After a mean follow-up of 19 years, 26 children developed a solid second malignant neoplasm (SMN), as compared to 5.6 expected from general population rates. Both the excess relative risk and the excess of absolute risk of solid SMN were higher among children who were younger at time of the irradiation. After reaching a maximum 15 to 20 years after irradiation, the excess relative risk of SMN decreased with time after irradiation, when controlling for age at irradiation and sex. The analysis of the risk of thyroid, brain and breast cancer together, as a function of the dose averaged on these 3 organs lead to similar results.

Chondrosarcoma is currently defined as a malignant cartilage tumour arising de novo or within a pre-existing benign cartilage tumour. Chondrosarcoma can be surgically resected, but all grades have significant rates of local recurrence. The purpose of the present study was to develop an animal intraosseous chondrosarcoma model simulating the progression of human chondrosarcoma and elucidating its behaviour and biology. An intraosseous Swarm rat model was designed to assess interactions between bone and chondrosarcoma. A comparison of tumour grading was carried out according to transplantation site. The effects of chondrosarcoma cells (SRC cells) on the mineralisation capacities of osteoblasts and on osteoclast differentiation were studied in relation to modifications observed in vivo at the cellular level. Transplantation of Swarm rat chondrosarcoma within bone marrow or contiguous to induced periosteal lesions led to extensive bone remodelling with trabecular bone rarefaction and periosteal apposition. Transplantation in close contact to bone but without any periosteal lesion had no effect on bone, suggesting that bone healing factors interact with tumour development. With the intramedullary model, the development of tumours of different grade confirms that bone environment is an important factor in malignancy. A decrease of bone nodule formation was noted after cocultures of SRC cells with rat bone marrow, but there was no modification of osteoclast differentiation after cultures of total rabbit bone cells with SRC cells. These data reveal the importance of interactions between bone environment and tumour in inducing bone remodelling and variations in tumour malignancy.

The frequency of thyroid nodules has been studied among 396 children irradiated for a hemangioma, from 1946 to 1973. 226Ra, 192Ir, 90Y, 32P, 90Sr, as well as X-rays had been used for treatments. The doses of radiation received by the thyroid of each child have been estimated retrospectively. The irradiations have been classified in two categories based on their duration: less than 30 min., and more than 30 min. The doses received with each of these two types of irradiation were summed for each patient. The risk of thyroid nodule increased as a function of the dose to thyroid only for the dose delivered with the short duration. This study emphases the importance of the role of the dose rate in the risk of radio-induced tumour.

Human growth hormone (GH) has recently been found to stimulate osteoclastic resorption, cysteineproteinase and metalloproteinase activities (MMP-2 and MMP-9) in vitro via insulin-like growth factor-1 (IGF-1) produced by stromal cells. The present study investigated the effects of two extracellular matrix components (vitronectin and type-1 collagen) on hGHand hIGF-1-stimulated osteoclastic resorption and proteinase activities in a rabbit bone cell model. After 4 days of rabbit bone cell culture on dentin slices with vitronectin coating, hGH and hIGF-1 stimulated bone resorption and hIGF-1 upmodulated cysteine-proteinase activities. MMP-2 expression (but not resorption, cathepsin or MMP-9 activities) was upmodulated by hGH and hIGF-1 on dentin slices coated with type 1 collagen as compared to those without coating. Then, vitronectin was synergistic with hIGF-1 in the regulation of cysteine-proteinase production whereas collagen showed synergy with hGH and hIGF-1 in the regulation of MMP-2 production. Anti-avB3 totally abolished the effects of hGH and hIGF-1 on metalloproteinase release, but had no influence on cathepsin release. The results suggest that cysteine-proteinase modulation is not mediated by avB3 integrin (strongly expressed on osteoclastic surface) whereas the resorption process and metalloproteinase modulation are clearly'mediated by this integrin. Our finding about the collagen coating also suggests that hGH- and hIGF-1-stimulated MMP-2 activity are mediated, along with avB3 integrin, by another adhesion molecule.

In Sicilia, in occasione di numerose cerimonie religiose, soprattutto a Pasqua, entrano in scena statue con arti mobili (soprattutto Crocifissi e Madonne) e fantocci antropomorfi o teriomorfi animati da un manipolatore posto al loro interno. Se dal punto di vista fenomenologico, questi ultimi artefatti, costituiscono un ibrido, un incrocio tra umano e artificiale, dai punti di vista funzionale e simbolico, sia che rappresentino i santi apostoli sia che rappresentino eroi fondatori o animali leggendari, si pro-pongono, sempre e comunque, come entità altre dall’umano. I fantocci animati, pertanto, al pari dei mascherati e dei simulacri processionali dei santi, sono da considerarsi delle epifanie di una “alterità” con cui bisogna mantenere un sistema di relazioni positive al fine di garantire la ciclica ricostituzione dell’ordine naturale e sociale. Non a caso, quando irrompono nello spazio comunitario, sono caratte-rizzati da un lato da comportamenti a-normali, tesi a enfatizzarne la diversità e la non-umanità, dall’altro sono destinatari di offerte che rinnovano quel circuito del dono che sempre sostanzia ai rap-porti tra immanenza e trascendenza. In tutti casi, inoltre, le loro peculiarità morfologiche e i loro singo-lari comportamenti performativi, non di rado tricksterici e predatori, rivelano un modo “altro” di vivere il sacro e, più in generale, un modo di vivere “altro” che li propone come espressioni totemiche di una specifica appartenenza comunitaria. In Sicily, on the occasion of numerous religious ceremonies, especially at Easter, statues with movable limbs (especially Crucifixes and Madonnas) and anthropomorphic or theriomorphic puppets animated by a manipulator placed inside them enter the scene. If from a phenomenological point of view, these last artifacts constitute a hybrid, a cross between human and artificial, from a functional and symbolic point of view, whether they represent the holy apostles or that they represent founding heroes or legendary animals, they propose, always and in any case, as entities other than the human. The animated puppets, therefore, like the masked ones and the processional simulacra of the saints, are to be considered epiphanies of an "otherness" with which it is necessary to maintain a system of positive relationships in order to guarantee the cyclical reconstitution of the natural and social order. It is no coincidence that when they break into the community space, they are characterized on the one hand by a-normal behaviour, aimed at emphasizing their diversity and non-humanity, and on the other they are recipients of offers which renew that circuit of the gift which always substantiates to the relationship between immanence and transcendence. In all cases, moreover, their morphological peculiarities and their singular performative behaviors, often tricksteric and predatory, reveal an "other" way of experiencing the sacred and, more generally, an "other" way of living than proposes as totemic expressions of a specific community membership.

International audience; In recent history, sound techniques of urban rituals in Cairo have had a series of innovations, wich consequences have, sometimes unintentionally, changed the sound environments, influenced musical aesthetics, and ultimately shaped a part of popular culture. The synthesizer, modified for Arabic music, takes an important part of the development of the sound tehnologies and it has become an important source of the diffusion of the new sounds, with the modes of amplification and transformation of the sounds.From codified exposition of city society to religious ceremonies in front of by the tombs of the saints, these rituals are qualified by a specific sound environment that can be identified by both those who acknowledge it and those who reject it. Thus, electrified sounds and specific uses of the synthesizer draw the contours of social and cultural differentiations in the city.This article proposes some lines of research around the appariation of the synthesizer and the development of sound systems that highlight the collaborative and non-linear nature of these innovations and their contribution to national cultural history.; Les techniques de sonorisation des rituels urbains au Caire ont connu dans l’histoire récente une série d’innovations dont les conséquences parfois involontaires ont modifié les environnements sonores, influencé l’esthétique musicale, et au final façonné un pan de la culture populaire. Le synthétiseur a accompagné le développement de la sonorisation au prix de quelques modifications, et il est devenu une source importante de la diffusion des nouvelles sonorités, avec les modes d’amplification et de transformation des sons. Cadre codifié d’exposition de la société citadine ou bien cérémonies religieuses adossées aux tombeaux des saints, ces rituels sont désormais qualifiés par un environnement sonore spécifique identifiable à la fois par ceux qui s’en reconnaissent et ceux qui le rejettent. Ainsi, sonorités électrifiées et usages spécifiques du synthétiseur dessinent les contours de différenciations sociales et culturelles dans la ville. Cet article propose quelques pistes de recherche autour de l’avènement du synthétiseur et de la mise au point de modes de sonorisation qui mettent en relief le caractère collaboratif et non linéaire de ces innovations et leur contribution à l’histoire culturelle nationale.

International audience; On ne compte plus aujourd'hui les appels à repenser l'innovation. Il y aurait urgence écologique. Et certains n'hésitent pas à prédire la fin du monde à moins d'une rupture radicale de nos modèles de croissance. Alors que chaque nouvelle génération de téléphone ou d'ordinateur est célébrée comme si elle constituait un progrès décisif pour l'humanité, le low tech à l'inverse, cet ensemble hétérogène de techniques, de modes de composition alternatifs, définis tantôt négativement (pauvreté ou économie de moyens) tantôt positivement (faire beaucoup avec peu de choses, faire avec ce qu'on a, faire plus local et plus participatif, etc.) viendrait partout ébranler la toute puissance du high tech. Avec lui, ce ne sont pas seulement une autre lecture des techniques et d'autres façons de concevoir qui se donnent à voir, mais des population entières d'hommes et de procédés, dont le rôle a bien souvent été sous-estimé, de l'Inde à l'Afrique en passant par l'Asie. L'objectif de ce numéro n'est pas de cataloguer les formes de résistance ou d'invention très diverses que recouvre l'étiquette de low tech, mais plutôt de poser les bases d'une cartographie alternative des modes d'assemblage à l'échelle planétaire, et de donner des outils pour mieux penser des manières de fabriquer qui échappent à toute classification.

International audience

Partant d’un exemple ethnographique issu d’un terrain en cours aupres de roboticiens a Paris, l’auteur propose de contraster les notions de « piege » et de « pacte » anthropomorphiques pour tenter de mieux saisir la facon dont est concue aujourd’hui l’interaction entre des robots humanoides et leurs utilisateurs ;et, plus generalement, pour faire ainsi ressortir ce qui peut distinguer les diverses attitudes qu’il est possible d’adopter vis-a-vis de l’anthropomorphisme, avec les implications methodologiques mais aussi ethiques qui pourront en resulter, en particulier dans le domaine des nouvelles technologies.

International audience

Outils centraux dans le champ du spectacle, de la mise en scene et plus globalement dans le champ de la representation depuis la fin du XVIIIe siecle, les artifices et effets speciaux constituent des dispositifs techniques qui visent a troubler d’une maniere ou d’une autre l’ordre de la realite. Ce numero a pour objectif de rendre compte de la variete des moyens souvent savants mobilises sur les scenes, plus ou moins publiques, des theâtres, musees, ateliers, laboratoires et studios, pour stimuler la perception, orienter l’attention ou la transformer, remodeler la sensibilite, ou deformer les corps et les objets. Se dessine ainsi le cadre historique commun dans lequel se sont developpees un certain nombre de pratiques (prestidigitation, cinema, arts de l’exposition foraine, demonstrations scientifiques, entre autres) qui ont largement communique au xixe siecle et joue un role crucial dans la formation de notre modernite.