Abstract EN:

Museum must be examined according to several logics. Historically, it is a new stage of collection, of series of preserved objects. But it is not a question of semiophores (beares of signs). Preserved objects are hung up, their distination is cut off: they are susended (or in suspense). Philosophically. Two modes of aesthetic judgement deal with musuem: one mode is granting a privilege to series, the interexpression of series (leibniz, benjamin), and the other is setting up the (non) connection of a thing whose fina1lity has been cut off, with the subject of the judgment (kant), as if the subject comes into the worid thanks to an "expot" (an exposed object). In semiology, according to categories which allow to distinguish epochs of the surface of inscription: frame, support, inscription plane. According to a logic of national, modern discourses of legi6timation, that it is to say a british casual aesthetics, political, revolutionary, french, aesthetic and political, of the negative community, romantic, german. But since the thirties (before the last worls war), a new logic has risen which has joined the others: the logyic of relinquishment seizing again, on the horizon of apocalypic fiction. Museum is facing then an "historical" immemorial, its "expots" (exposed objects) are used as mnesical materials instead of the unscribable. And facing a non-experience of perceived shock, it becomes the instance of retreat without which the thinking of the world would be idle (h. Arendt). This museum is essentially inscribing itself in an ontology of inclusion, which would be innerly the key for our time. The accumulating notion of collections would be parallel to a process of universal abstraction which is the principle of the man's position of rights of man, immanence running its course against exclusion.