{"id":2760,"date":"2016-08-22T12:00:35","date_gmt":"2016-08-22T12:00:35","guid":{"rendered":"http:\/\/colecaolivrodeartista.wordpress.com\/?p=2760"},"modified":"2016-08-22T12:00:35","modified_gmt":"2016-08-22T12:00:35","slug":"opinions","status":"publish","type":"post","link":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/?p=2760","title":{"rendered":"Opinions"},"content":{"rendered":"

\"opinions_large\"<\/p>\n

Matthieu Saladin
\nOpinions
\n<\/em>Rennes: Incertain Sens, <\/em>2013
\n[104 p.]
\noffset, tr\u00eas cores
\n16 x 24 cm.
\n1000 ex.
\nCo\u00e9dition avec le Centre d\u2019Art Contemporain de Br\u00e9tigny.
\nISBN\u00a0978-2-914291-55-2<\/p>\n

\"opinions_2\"<\/p>\n

\"opinions_1\"<\/p>\n

Este livro<\/span> cont\u00e9m cinquenta<\/span> pesquis<\/span><\/span>as realizadas <\/span><\/span>pelos principais institutos de pesquisa da Fran\u00e7a<\/span> (BVA<\/span>, CSA, IFOP<\/span>, TNS<\/span> Sofres<\/span>, etc) <\/span>desde<\/span> a<\/span> virada do s\u00e9culo<\/span>,\u00a0abordando<\/span> quest\u00f5es<\/span> econ\u00f4micas e pol\u00edticas,<\/span> sociais e<\/span> culturais.<\/span> Os percentuais de<\/span> respostas para cada quest\u00e3o<\/span> reconfiguram<\/span> a largura das<\/span> faixas<\/span> da bandeira francesa<\/span>, mas mant\u00e9m<\/span> as cores e<\/span> propor\u00e7\u00f5es<\/span> oficiais <\/span><\/span>(2:<\/span> 3)<\/span><\/span>.<\/span> A primeira<\/span> resposta<\/span> ou<\/span> a resposta<\/span> “sim”<\/span> \u00e9 o<\/span> azul<\/span>; a<\/span> segunda<\/span> resposta<\/span>, ou “<\/span>n\u00e3o” tem a <\/span> cor<\/span> vermelha<\/span>; no meio<\/span>, a participa\u00e7\u00e3o dos entrevistados sem resposta<\/span> (sem<\/span> opini\u00e3o<\/span>) \u00e9 equivalente ao branco.<\/span> A composi\u00e7\u00e3o de cores<\/span> assim produzida a partir de quest\u00f5es apresentadas mostra como a <\/span>“opini\u00e3o p\u00fablica” <\/span><\/span>distorce <\/span>o emblema da<\/span> Rep\u00fablica Francesa<\/span><\/span>.<\/span> Na entrada<\/span> “Bandeira<\/span> da Fran\u00e7a” no<\/span> Wikipedia<\/span>, diz que por um longo tempo<\/span>, as tr\u00eas faixas<\/span> n\u00e3o tinham<\/span> a mesma largura<\/span> (\u00e9 o caso<\/span> da bandeira<\/span> de<\/span> Paris<\/span> e esta pr\u00e1tica<\/span> foi mantida<\/span> durante a revolu\u00e7\u00e3o<\/span>)<\/span>. Parece<\/span> que <\/span><\/span>regulamentos que estabelecem<\/span> faixas de igual<\/span> largura <\/span><\/span>s\u00f3<\/span> foram criados depois de<\/span> Napole\u00e3o Bonaparte<\/span> e dos conselhos<\/span> do pintor<\/span> Jacques<\/span>-Louis David<\/span> (1).<\/span> \u00c9 tamb\u00e9m<\/span> no s\u00e9culo XVIII<\/span> que o papel<\/span> das<\/span> estat\u00edsticas<\/span> est\u00e1 configurado<\/span>, a pesquisa – que<\/span> “a parte<\/span> pode substituir<\/span> o todo (2)<\/span>” –<\/span> em seguida<\/span> seria associada<\/span> com a ideia de<\/span> representatividade.<\/span> Um dos paradoxos<\/span> dessas pesquisas<\/span>, especialmente \u00f3bvio<\/span> hoje que<\/span> nenhum aspecto da<\/span> vida social<\/span> parece escapar<\/span>-lhes, \u00e9 que\u00a0<\/span>tenham a inten\u00e7\u00e3o<\/span> de fornecer uma<\/span> opini\u00e3o p\u00fablica<\/span> atuando como<\/span> “verdade<\/span> do povo<\/span> “<\/span>– ainda<\/span> em seu discurso que<\/span>, se ele foi calculado<\/span>, permanece a d\u00favida<\/span> –<\/span> e<\/span> que, no mesmo<\/span> princ\u00edpio<\/span> das suas estat\u00edsticas<\/span>, eles tendem a fazer<\/span>, nas palavras de<\/span> Jacques<\/span> Bouveresse<\/span>, “as<\/span> pessoas, ideias e<\/span> eventos<\/span> quase<\/span> completamente intercambi\u00e1veis”<\/span> (3).<\/span><\/span><\/p>\n

\"opinions_3\"<\/p>\n

Ce livre reprend cinquante sondages r\u00e9alis\u00e9s depuis le d\u00e9but du XXIe si\u00e8cle par les principaux instituts de sondage fran\u00e7ais (BVA, CSA, IFOP, TNS Sofres, etc.), touchant aussi bien \u00e0 des questions \u00e9conomiques et politiques que sociales et culturelles. Les pourcentages des r\u00e9ponses donn\u00e9es \u00e0 chaque question reconfigurent la largeur des bandes du drapeau fran\u00e7ais, en conservant toutefois ses couleurs et ses proportions (2:3) officielles. Le premier \u00e9l\u00e9ment de r\u00e9ponse ou la r\u00e9ponse \u00ab\u00a0oui\u00a0\u00bb correspond \u00e0 la couleur bleue\u00a0; le deuxi\u00e8me \u00e9l\u00e9ment de r\u00e9ponse ou la r\u00e9ponse \u00ab\u00a0non\u00a0\u00bb \u00e0 la couleur rouge\u00a0; au milieu, la part des sans r\u00e9ponses (ne se prononcent pas) \u00e9quivaut au blanc. La composition de couleurs ainsi g\u00e9n\u00e9r\u00e9e fait face \u00e0 la question pos\u00e9e, distordant au gr\u00e9 de l\u2019\u00ab\u00a0opinion publique\u00a0\u00bb cet embl\u00e8me de la R\u00e9publique fran\u00e7aise. \u00c0 l\u2019entr\u00e9e \u00ab\u00a0drapeau de la France\u00a0\u00bb dans Wikip\u00e9dia, on peut lire que pendant longtemps, les trois bandes n\u2019avaient pas la m\u00eame largeur (c\u2019est le cas du drapeau de Paris et cet usage s\u2019est conserv\u00e9 durant la r\u00e9volution). Il appara\u00eet que c\u2019est seulement depuis Napol\u00e9on Bonaparte et sur les conseils du peintre Jacques-Louis David que la r\u00e9glementation instituant des bandes de largeur \u00e9gale a \u00e9t\u00e9 \u00e9tablie (1). C\u2019est \u00e9galement au XVIIIe si\u00e8cle que le r\u00f4le pr\u00e9visionnel des statistiques se met en place, le sondage \u2013 o\u00f9 \u00ab\u00a0la partie peut remplacer le tout (2)\u00a0\u00bb \u2013 devenant \u00e0 leur suite associ\u00e9 \u00e0 l\u2019id\u00e9e de repr\u00e9sentativit\u00e9. L\u2019un des paradoxes de ces sondages, d\u2019autant plus manifeste aujourd\u2019hui que le moindre aspect de la vie sociale ne semble pouvoir leur \u00e9chapper, est qu\u2019\u00e0 la fois ils entendent livrer une opinion publique faisant office de \u00ab\u00a0v\u00e9rit\u00e9 du peuple\u00a0\u00bb \u2013 qui pourtant dans son expression, sinon son calcul, reste sujette \u00e0 caution \u2013, et que dans le principe m\u00eame de leurs statistiques, ils tendent \u00e0 rendre, pour reprendre les mots de Jacques Bouveresse, \u00ab\u00a0les individus, les id\u00e9es et les \u00e9v\u00e9nements presque compl\u00e8tement interchangeables (3)\u00a0\u00bb.<\/p>\n

1. Wikip\u00e9dia, Le drapeau de la France<\/em>, http:\/\/fr.wikipedia.org\/wiki\/Drapeau_de_la_France (consult\u00e9 le 29\/02\/2012).
\n2. Alain Desrosi\u00e8res, La politique des grands nombres. Histoire de la raison statistique<\/em>, Paris, La D\u00e9couverte, 1993, p. 277.
\n3. Jacques Bouveresse, Robert Musil. L\u2019homme probable, le hasard, la moyenne et l\u2019escargot de l\u2019histoire<\/em>, Paris, Editions de l\u2019\u00e9clat, 1993, p. 104.<\/p>\n

http:\/\/www.sites.univ-rennes2.fr<\/a>\/arts-pratiques-poetiques\/incertain-sens\/fiche_saladin_opinions.htm<\/a><\/p>\n

Salvar<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Matthieu Saladin Opinions Rennes: Incertain Sens, 2013 [104 p.] offset, tr\u00eas cores 16 x 24 cm. 1000 ex. Co\u00e9dition avec le Centre d\u2019Art Contemporain de Br\u00e9tigny. ISBN\u00a0978-2-914291-55-2 Este livro cont\u00e9m cinquenta pesquisas realizadas pelos principais institutos de pesquisa da Fran\u00e7a … Continue lendo →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5],"tags":[80],"class_list":["post-2760","post","type-post","status-publish","format-standard","hentry","category-arte-e-sociedade","tag-a-plenos-pulmoes"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts\/2760","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2760"}],"version-history":[{"count":0,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=\/wp\/v2\/posts\/2760\/revisions"}],"wp:attachment":[{"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2760"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2760"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/colecaolivrodeartista.eba.ufmg.br\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2760"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}