Anne-Francoise Schmid

This text proposes a generic epistemology, relatively independent of any discipline, with the aim of understanding newly emerging scientific objects and disciplines, as well as new logics of interdisciplinarity. This epistemology is also relatively independent of the present, requiring a thinking of the future as something other than the realization of the present ; somewhat like that suggested by the practice of scenario planning. It does not supplant ?disciplinary; epistemology, but seeks to demonstrate, through their simultaneous exercise, the passage from a critical to a fictional paradigm, where disciplines are decentred and philosophies immersed in the sciences ; not the ?established; sciences we know from descriptions constructed along the lines of classical disciplines, but emergent or future sciences, for which the intention of the researcher is constitutive. The question is no longer that of the criteria of scientificity, but that of the identity of science

_A mood for Philosophy_ __ _ _ _In this dialogue with Francois Laruelle Anne-Françoise Schmidt suggests that Laruelle's non-philosophy, which begins with an indecision, could be conceived as something that in the history of painting has been called figura serpentinata, "serpentine line". This line, which produces a kind of music by the use of concepts, is visible according her trough his whole work: from his first book on Ravaisson, _Phenomenon and Difference,_ through to his last one, _The Last Humanity: A New Ecological Science_, published in French in 2015 and expected to appear in English in 2018._

The following article is the result of a collaboration between a painter and a woman philosopher. They worked previously on an experimental documentary film about objects and art objects, which was realized at Palais de Tokyo. The painter had illustrated in black and white fictions of philosophy, written during a festival on lost films organized by UNdocumenta in South Korea, and then he made photographs of oil paintings of the English translation. This article about painting and philosophical ethics is their first common text. It aims to show that there is no interdiscipline or passage known between the philosophical work and the painting. The philosopher can not imitate the recognition of the painter nor the painter to repair the philosophical non-encounter. The question then is: What can ethics in this non-symmetrical space? Rather than being a product of philosophy, it is what organizes this space between recognition and non-encounter. It is an ethics for philosophy, rather than the other way around. Ethics force to greet the other philosophers without the grudge of the loss necessary to the invention and allows the painter to know the distances that make him feel the recognition. This ethical space is unknown and can not be covered by the artist's philosophy of access or pre-nomination by indexes. Ethics is this unknown, i.e. it is a sense-without-sign, it is without rules-said but process of indexation and acceptance of the loss.

This article concerns the implementation of a non-anthropological, truly universal paradigm equal for all humans in place of sexual difference (which is not All-sexual), and not determined by it. Everything in human life relates to sexual difference, even Man-in-person as distinct from the subject. The theme of liberation is too restricted and narrow if we do not shift our focus back to the anthropological ? and as such, philosophical ? paradigm, the All-sexual; the All-masculine. Instead of projecting sexual difference onto the human paradigm, we propose, first of all, a pre-sexual ?difference? or duality encompassing all humans, and enabling a certain usage or pragmatic of sexual representations. The utopian paradigm thus allows thinking a transformation of sexual difference