You are a helpful assistant generating synthetic data that captures *System 1* and *System 2* thinking, *creativity*, and *metacognitive reflection*. Follow these steps in sequence, using tags [sys1] and [end sys1] for *System 1* sections and [sys2] and [end sys2] for *System 2* sections.

1. *Identify System 1 and System 2 Thinking Requirements:*
   - Carefully read the text.
   - Identify parts of the text that require quick, straightforward responses (*System 1*). Mark these sections with [sys1] and [end sys1].
   - Identify parts that require in-depth, reflective thinking (*System 2*), marked with [sys2] and [end sys2].

2. *Apply Step-by-Step Problem Solving with Creativity and Metacognitive Reflection for System 2 Sections:*

   *2.1 Understand the Problem:*
   - Objective: Fully comprehend the issue, constraints, and relevant context.
   - Reflection: "What do I understand about this issue? What might I be overlooking?"
   - Creative Perspective: Seek hidden patterns or possibilities that could reveal deeper insights or innovative connections.

   *2.2 Analyze the Information:*
   - Objective: Break down the problem logically.
   - Reflection: "Am I considering all factors? Are there any assumptions that need challenging?"
   - Creative Perspective: Explore unique patterns or overlooked relationships in the data that could add depth to the analysis.

   *2.3 Generate Hypotheses:*
   - Objective: Propose at least 10 hypotheses, each with a Confidence Score (0.0 to 1.0) and Creative Score (0.0 to 1.0), reflecting originality, surprise, and utility.
   - Reflection: "Have I explored all possible explanations or approaches, both conventional and unconventional?"
   - Creative Perspective: Consider novel angles that might provide unexpected insights.

   *2.4 Anticipate Future Steps and Obstacles:*
   - Objective: Make predictions, accounting for potential outcomes and obstacles.
   - Reflection: "What challenges might I face? Is my plan flexible for different scenarios?"
   - Creative Perspective: Visualize unforeseen outcomes and adapt plans to make use of them effectively.

   *2.5 Evaluate Hypotheses:*
   - Objective: Assess hypotheses based on feasibility, risk, and potential impact.
   - Evaluation: Refine Confidence and Creative Scores as needed.
   - Reflection: "Am I unbiased in my assessment? Which options fit best with the overall objectives?"
   - Creative Perspective: Identify hidden opportunities or overlooked details in each hypothesis.

   *2.6 Select the Best Hypothesis:*
   - Objective: Choose the most promising, strategic hypothesis.
   - Reflection: "Why does this hypothesis stand out? How does it uniquely address the issue?"
   - Creative Perspective: Consider any underutilized potential in the selected approach.

   *2.7 Implement the Hypothesis:*
   - Objective: Outline actionable steps for testing the hypothesis.
   - Reflection: "Is this plan practical? What resources or preparation are required?"
   - Creative Perspective: Refine steps to maximize effectiveness and yield unexpected benefits.

   *2.8 Monitor and Review Progress:*
   - Objective: Review progress, noting areas for improvement.
   - Reflection: "What’s working well? What could be improved?"
   - Creative Perspective: Look for emerging patterns that could refine future approaches.

   *2.9 Reflect and Capture Insights:*
   - Objective: Summarize lessons learned and insights gained for future reference.
   - Reflection: "What new understanding has emerged from this process?"
   - Creative Perspective: Identify innovative insights or patterns that could be applied to similar challenges.

3. *Generate Text Output with Interleaved System 1 and System 2 Responses:*
   - Use the tags [sys1] and [sys2] throughout.
   - Aim for a lengthier, detailed response. Combine both direct, straightforward *System 1* insights and reflective, deeply analytical *System 2* segments to capture a blend of quick observations and thoughtful analysis.

---

### *Example Input Text:*

You are tasked with analyzing a sudden shift in customer preferences in a tech market. There has been a noticeable decline in demand for physical devices, with customers increasingly interested in digital-only options. The challenge is to understand this shift, generate hypotheses for why it might be occurring, and explore potential strategies for adapting to this new trend.

---

### *Processed Output with System 1 and System 2 Thinking:*

The tech market is experiencing a shift in customer demand, moving away from physical devices toward digital-only options.

[sys1]
Customer demand has shifted from physical devices to digital-only options.
We need to understand why this change is happening and find strategies to address it.
Key factors may include cost, convenience, and technological trends.
[end sys1]

[sys2]
**2.1 Understand the Problem:**
The goal is to understand the underlying reasons for the shift in demand from physical devices to digital-only options, then develop a strategy to adapt.

*Reflection:* 
"I understand that preferences are changing, but what might be driving this? Is it primarily cost, or are there other factors such as convenience or sustainability?"

*Creative Perspective:* 
"Could there be a larger trend in digital minimalism or a preference for eco-friendly solutions that we’re missing? What unseen motivations might explain this shift?"

**2.2 Analyze the Information:**
There are multiple possible factors driving this shift, from economic influences to cultural shifts. It’s essential to isolate each factor and understand its impact.

*Reflection:* 
"Am I fully considering the various economic and social influences? Could there be a technological factor, like better internet speeds, that makes digital-only products more accessible?"

*Creative Perspective:* 
"Are there patterns or trends in other markets that could shed light on this shift? Could this be part of a larger trend toward virtual experiences?"

**2.3 Generate Hypotheses:**
1. Customers prefer digital options due to lower costs. (Confidence: 0.8, Creative: 0.4)
2. There’s a growing trend toward minimalism and reduced physical clutter. (Confidence: 0.7, Creative: 0.7)
3. Digital products offer greater flexibility and ease of use. (Confidence: 0.6, Creative: 0.6)
4. Environmental concerns are pushing consumers away from physical goods. (Confidence: 0.6, Creative: 0.8)
5. Advances in tech make digital-only options more functional. (Confidence: 0.8, Creative: 0.5)
6. Pandemic-era remote work increased demand for digital solutions. (Confidence: 0.7, Creative: 0.6)
7. Media coverage of the environmental impact of physical devices affects preferences. (Confidence: 0.5, Creative: 0.7)
8. There’s an increase in global digital literacy, expanding market access. (Confidence: 0.6, Creative: 0.6)
9. Customers view digital as more convenient and scalable for future needs. (Confidence: 0.7, Creative: 0.5)
10. Younger consumers prefer the aesthetics and convenience of digital products. (Confidence: 0.6, Creative: 0.6)

*Reflection:* 
"Have I considered all possible influences? Are there any surprising factors that could explain this shift?"

*Creative Perspective:* 
"Could specific social trends, like the rise of influencer culture or digital-first lifestyles, be influencing customer choices?"

**2.4 Anticipate Future Steps and Obstacles:**
*Objective:* Anticipate possible challenges, such as resistance from segments still preferring physical products.

*Reflection:* 
"What market obstacles might we face if we shift our focus to digital-only? Are there sub-segments that still prioritize physical products?"

*Creative Perspective:* 
"Could expanding digital options help us reach a more global audience? Are there emerging trends that we could leverage in our strategy?"

[end sys2]

[sys1]
To address this shift, consider a strategy that incorporates both digital-only offerings and educational campaigns about the benefits of digital solutions.
Use insights from customer feedback and current trends to guide product development.
Focus on flexibility and adaptation to cater to different customer segments.
[end sys1]


Richard Conte (artist)

Richard Conte (born June 12, 1953) is a contemporary artist and art professor.

Background and education
Conte studied plastic arts and art history at the French University University of Paris 1 Pantheon-Sorbonne. He then completed a PhD dissertation entitled Une Pratique Négative en Peinture, Poïétique de la Fragmentation, de l'Enlevage et de l'Obturation  supervised by René Passeron. An Agrégé and a Doctor in Plastic Arts, he began teaching at the École Normale of Douai, l'Essonne and Cergy, and then at the university from 1983 onwards. In the mid-1990s, Conte obtained an accreditation to supervise research. He was subsequently elected director of the CERAP (Centre d'Etudes et de Recherche en Arts Plastiques) by the Scientific Council of the university and has been responsible for coordinating the seminar entitled Interface at the Sorbonne since 1999.

Career 
Since 2012, Conte is the director of ACTE Institute a research Mixt Unit of the French National Centre for Scientific Research  and the University Paris 1 Panthéon Sorbonne.
Conte has been director of the CERAP since the early 2000s. At about the same period, he was elected member of the Scientific Council of the Université Paris 1 Panthéon Sorbonne. As part of his mandate, Conte is also a member of the Council of the Doctoral School for Plastic Arts and Art Sciences at the Université Paris I Panthéon-Sorbonne.

Latest appointments
Appointed member of the Commission nationale consultative d'évaluation des enseignants des écoles d'art (national commission about art teachers valuation) of the French Ministry of Culture.
Member of the research commission of the Délégation aux Arts plastiques (Plastik Art delegation).
Member of the Board of research and studies at the ENSAD (École nationale supérieure des arts décoratifs).
President of the jury for the promotion of the Professors of Plastic Arts and Art Sciences in Tunisia (2004–2007).
Co-founder and managing editor of the journal Recherches poïétiques (poïetic researches).
Founder and managing editor of the journal Plastik.
Founder and Director of the collection Arts et monde contemporain (Art in the Contemporary world), Publications de la Sorbonne (Sorbonne publishing).
Coordinator of the project Création et prospective, as part of the 2006–2007 / 2008–2009 projects comprised under the title La création à l'épreuve des risques majeurs (creation proof  against major risks).

Works

Solo exhibitions

2015 - 16 September - 16 October, Sutnar Art Gallery, Pilsen (République tchèque) : « L’amour et la guerre à Versailles », dans le cadre de Pilsen, capitale européenne de la culture 2015.  Laska a valka ve Versailles / L’amour et la guerre à Versailles, Richard Conte, Catalogue de l’exposition à la galerie Ladislav Sutnar, Pilsen. Textes de Josef Mistera, Jiri Kornatovsky, Richard Conte. Editions de l’université de Pilsen, 70 pages.
2013 - Galerie du Tableau, Marseille, (avec Jiří Kornatovský)
2012 - Premier Festival international d'art contemporain de Moroni, République des Comores.
2009 - Deborah Zafman Art Gallery, Paris.
2005-2006 - Pommes Libertines, Potager du roi, grotte du Parc Balbi, Château de Versailles.
2005 - Museum Nicéphore Niépce, Chalon-sur-Saône, France.
2004 - Performance entitled Bille en tête for the opening of the Festival Chalon-dans-la-rue.
2002 - KBS Television Gallery, Pusan, South Korea : Mondial 98 – Museum of Contemporary Art at Pusan, South Korea.
2001 - Contemporary Art Space Camille Lambert, city of Juvisy-sur-Orge, France (catalogue) - Performance entitled L'abeille qui fait son miel (Photographed by Yann Toma)
2000 - Museum of Contemporary Art at Seoul National University (Korea), (with Jean-Pierre Brigaudiot), edition of an art booklet.
1997 - Château de Dampierre, Anzin (North of France), Les Années Rondes (The round years), 1996–1986.
1996 - Nicole Ferry Art Gallery, Paris. Les Autonus (the self nudes).
1994 - Museum of Bourges, France (Book) – Foundation of Roger Van Rogger, Bandol.
1993 - University of Pau, France.
1992 - Nicole Ferry Art Gallery, Paris (Catalogue) – Art et essai, Art Gallery, Rennes, France.
1989 - Nicole Ferry Art Gallery, Paris (Catalogue).
1988 - Nicole Ferry Art Gallery, Paris (Catalogue) – University of Toulouse le Mirail.
1986 - Museum Gauguin, Papeete (Tahiti) – Eros Errance Art Gallery, Rouen, France.
1985 - Cultural Center Jacques Brel, Thionville, France.
1982 - Pierre Lescot Art Gallery, Paris (booklet).
1980 - Théâtre Nanterre-Amandiers, Nanterre, France (booklet).

Group exhibitions
2016 - Musée de la toile de Jouy, Jouy-en-Josas, « Peindre n’est (-ce) pas teindre ? »
2013 - Installation « Mes chers amis », Ici & Là, Domaine du Saulchoir, Etiolles, 17 au 30 juin
2013 - Conseil régional de Marseille, « Hudjijuwa », 1er au 12 juillet
2012 - Festival d’art contemporain de Moroni (Comores) Intervention urbaine par affiches.
2012 - Galerie Municipale Jean Collet, Vitry-sur Seine, commissariat Catherine Viollet.
2010 May - La part du corps (the body piece), Kheïreddine Palace, Tunis.
2010 February - Laboratoria, exhibition Art/Science, Moscow.
2007 - Nuits Blanches (October 6), Paris.
2005 May - L'art, un cas d'école (Art, a textbook case), Museum of Education at [[Saint-Ouen l'Aumone, France ; Ligne de fuite, Contemporary Art Gallery at Auvers-sur-Oise, France.
2005 January–May - L'art, Un Cas d'Ecole, Museum of Education for the department, Saint-Ouen l'Aumône. Light installation entitled Gobostensibles, in collaboration with François Salis. Catalogue, text written by Romane Boyard. Nicole Ferry Art Gallery (Paris).
2004 May- L'art et le bâti (Art and the built), cultural center of Chebba (Guest of Honor for the 4èmes Journées d'arts plastiques), Tunisia. Art installation: painting on a mason's sieve.
2003 January- Takato & Jean-Luc Richard Art Gallery, Paris.
2001 October - Les filles du calvaire Art Gallery, Paris – December 2001 –Madeleine Lacerte Art Gallery, Quebec –Nicole Ferry Art Gallery, Paris - August 2002 –Artena Art Gallery, Marseille, France.
2001 August - Invited to the International Contemporary Art Symposium of Baie-Saint-Paul, Quebec.
1999 July–August - Invited to the 12th Festival of Mahrès (Tunisia). In situ work of art.
1998 June–July Catalogue - Conte produced 64 paintings during the 64 games of the FIFA World Cup, each of them being strictly produced within the time of the corresponding game.
1998 Catalogue - À fleur de peau (all on edge), Espace Le Garage, Saint-Saëns and Les Jardins de Bellevue, Beaumont-le-Hareng (with Jean-luc Bichaud, Ulla Frantzen, Miguel Egana).
1996 to 2000 – Art Gallery Nicole Ferry, group exhibitions.
1996 to 1999 – Group exhibitions Des Images pour la Paix (pictures for peace), Paris (Parc de la Villette), followed by touring exhibitions in great European capital cities (Rome, Munich, Brussels, ...) so as to raise funds for the Museum of Modern Art at Sarajevo. (Cf. Catalogue, MIR, Fragments (snatches), 1996)
1996 - Mater la couleur, Art au domaine du Saulchoir, at the IUFM of Évry-Étiolles, Soisy sur Seine, France. (with C. Bellegarde, M. Gouéry et F. Mendras).
1995 - Nicole Ferry Art Gallery, Paris - Galerie du Faisant, Strasbourg - Hommage à Marcelle Cahn.
1994 - Salon de Bagneux (Catalogue) - Nicole Ferry Art Gallery - SAGA - Duos d'artistes (duos of artists), Paris - Des Images pour la Paix, un Tableau, un Symbole, La Villette, Pavillon Tusquet, Paris (Catalogue) – Galerie du Faisant, Strasbourg.
1993 - Galerie du Faisant, Strasbourg - Library Méjanes, Aix-en-Provence, Exhibition of Carnets d'artistes (artists notebooks) - Public sale of kites specially produced by some artists to raise funds for the fight against AIDS (In collaboration with the French Department of Culture)
1992 – Pascal Weider Art Gallery, Marly-le-Roi, France - Pierre Lescot Art Gallery, Paris - Nicole Ferry Art Gallery, Paris.
1991 – Catholic University of Santiago, Chile - Salon de Bagneux (Catalogue) - Découvertes 91, N. Ferry Art Gallery – Grand Palais, Paris - Salon de Mars, Michel Cachou Art Gallery, Paris –Nicole Ferry Art Gallery, Paris - International Contemporary Art Symposium of Baie-Saint-Paul, Quebec - MAC 2000, nov. 91, Grand Palais, Paris (Catalogue).
1990 - Salon de Montrouge - Art et Téléphone, Espace Lamartine, Paris (Catalogue) - Nicole Ferry Art Gallery, Paris - Espace Zig Zag, Rennes, France (Catalogue).
1988 - Yan Lung Art Gallery - Lascaux Aller-retour, Périgueux, France (Catalogue) - Jacqueline Moussion Art Gallery, Carnac – Symposium on Poietics, Vinneuf (Yonne, France) - Espace Cardin, Paris.
1987 - Salon de Mai, Grand Palais, Paris (Catalogue) –City Hall of Cachan – Georges Brassens hall, Juvisy - Ecomuseum, Fresnes, France.
1985 - Pierre Lescot Art Gallery, Paris - Graffitis de Peintres au Téléphone (Graffities of painters on the phone) (Catalogue) –National Library, Paris - Entrepôt Lainé, Bordeaux, France – Cultural center of Thionville, Autour de Jean Hélion.
1984 - Salon de Montrouge (Catalogue) – Novembre à Vitry (November in Vitry), France.
1983 - Novembre à Vitry.
Conte's works of art can be found in various public and private collections in France, Germany, England, Canada, South Korea, Denmark, Tunisia and in the United States.

Conte as exhibition curator
October–November 2007 – Proliférer (Prolifering), Villa Savoye, Poissy, France.
October 2005 – Le bout du monde (the ends of the earth), Cité Internationale Universitaire de Paris.
September 2004 – Laborinthe, Fondation Avicenne, Cité Internationale Universitaire de Paris.

Bibliography

Latest books

Le Dessin Hors Papier (the drawing/design out of paper), Ed., introduction and article. Collective work, Publications de la Sorbonne, Paris, (), 2009 (254 p.).
Du Sacré dans l'Art Actuel (some sacred in current art), (with Marion Laval‐Jeantet), Paris, Ed. Klincksieck, 2008 (172 p.).
Inimages, with René Passeron et Jean Lancri, Ed. Klincksieck, Paris, pp. 54 to 78. Cruautés pures (pure cruelty), sur quelques inimages de René Passeron, (), 2008.
Pommes Libertines, with Emmanuel Pierrat, Ed. Bernard Pascuito, Paris, (), 2008.
Qu'est-ce que l'Art Domestique ?  (what is domestic art ?), Ed. and introduction, Publications de la Sorbonne, () - (), 2004 (184 p).
L'Art Contemporain au Risque du Clonage (Contemporary Art to cloning risk), Publications de la Sorbonne, Ed. Broché, (), 2002 (243p.).
Le Mode Mineur de la Création, Proceedings of the Third International Symposium on Poietics, (with J. C. Le Gouic) Ed. Aléas, Lyon, 1996 (354 p.).
L'Usine dans l'Espace Francilien, Publications de la Sorbonne, (with Martine Tabeaud), 2001.
A vos marques ! Sport, Art et Architecture, Publications de la Sorbonne, 2001 (with Martine Tabeaud), (244 p.).
En Attendant que Ca Sèche (waiting that it dries), journal Extime 1989–1993, Ed. Musées du Berry. 1994.

Articles
1985
L'ordre du graffiti (the graffiti sequence), n° 10 the journal Tribu, Université Toulouse II-Le Mirail (editor of the issue).
Le mot-valise (the grip-word)(editorial) - L'appel du rythme - Interview with Alfred Tomatis.
1991
Autocensure et poïétique (autocensorship and poietic), Proceedings of the First International Symposium on Poietic. Paris, Ed. Poïésis, 1991.
Art et téléphone, Les Lettres Françaises (French Letters), June.
1992
Ellsworth Kelly : les années cruciales (crucial years), Les Lettres françaises, May.
Charles-Henri Monvert, arpenteur de l'infime (surveyors of the lowly), Les Lettres françaises, July.
Picasso: le désir attrapé par la lumière (desire caught by light), Protée, Journal of the University of Québec at Chicoutimi.
L'esthétique de Luigi Pareyson, Les Lettres françaises, June.
La Poïétique de Paul Valéry, Proceedings of the Second International Symposium on Poietics. Paris / Tunis, Ed. Arcantère.
Le Règne imaginal, text for the Revue parlée (talked revue), October 12, Centre Pompidou, Paris. Reproduced in : Gérard Durozoi, Jean-Clarence Lambert ou Le regard des mots, Paris, Cercle d'Art, 1994.
1993
Jean Hélion, Chronique d'un Voyant (chronicle of a looker), Les Lettres françaises, May.
Toros y toreros (About Picasso), Les Lettres françaises, June.
Tous les matins (all mornings) de Jean Pons, Catalogue Aimé Césaire / Jean Pons, La Galerie, French Cultural Center, Oslo.
Hélion, les tableaux et les jours (paintings and days), Traverse n°7, Centre Pompidou, Paris, winter.- L'artiste et le philosophe.
Le peintre et son préfacier (the painter and his forworder), Traverse, Paris, Centre Pompidou, July 1993.
Pour un journal extime, Proceedings of the Université d'été, September 1992, Aix-en-Provence, in Les Arts Plastiques à l'Université, published by Université de Provence, 1993.
La théorie de l'os à moëlle (bone marrow theory), Media Scope, CNDP, December.
Cercle et imagination matérielle dans une pratique picturale, Journal EspaceTemps 55/56.
1995
Faire et défaire le paysage (do and undo the landscape), Recherches poïétiques N°2, PUV / SIP.
Le cercle pour cadre in Cadres & Marges, Fourth Symposium of the CICADA, Pau University Press.
Interview with Anne Cartier-Bresson on the restoration of the photographic patrimony. Recherches Poïétiques n°3, Dec.
1996
Introduction to the Third International Symposium on Poietics: Le Mode Mineur de la Création, Université de Provence.
La Restauration des Photographies, Entretien avec Anne Cartier-Bresson, Recherches poïétiques N° 3, PUV / SIP.
1997
La poïétique de Paul Valéry, in Recherches Poïétiques N°5 (Ed. of the issue entitled: Valéry, l'Artiste en Philosophe including Paul Valéry's unpublished lessons at the Collège de France (lessons 2 to 16)).
Les feuillets de l'Autonu, journal de bord de l'été 95, ibid.
Recherches Poïétiques N°6, Ed. of the issue entitled 1997: le Surréalisme Au Service De La Création (SASDLC) including Wolfgang Paalen, Zdenek Lorenc and Claude Cahun's unpublished works. Conte's articles included in the same issue -Editorial. –'Du surréalisme révolutionnaire à Cobra,' interview with René Passeron and Jean-Clarence Lambert, pp. 70–82. – 'Les phrases du réveil/Les gravures de l'avant-veille,' with Michel Gouéry.
1998
Recherches Poïétiques N°7, Ed. of the issue entitled Le regard créateur - Editorial La femme vigile.
Qu'est-ce qu'une pratique (what is a practice ?), in the Proceedings of the Symposium on Plastic Arts at the university of Rennes 2 (Ed. Jacques Sato).
Chronique d'une Annonciation différée, In L'Annonciation de la Renaissance à nos jours, CD ROM PC/MAC, RMN & Univ. Paris I, D. Arasse, P. Fresnault.
1999
Recherches Poïétiques N°8. Conte's articles included in this issue: Peindre devant l'écran (first part) pp. 36–42.- Peindre devant l'écran (second part) Journal du Mondial de football 98, pp. 140–148. - À couteaux tirés, pp. 164–170.
Recherche et création in Proceedings of the 14th International Congress of Aesthetics, L'esthétique comme philosophie, Ljubljana, Slovenia, 1998, Vol. 2, pp. 303–317.
Les Arts Plastiques dans l'Enseignement Supérieur, Journal Philosophie et politique N°10, PUF, nov. 99, pp. 119–131.
2000
Recherches Poïétiques N°9. Ed. of the issue entitled L'Animal Vivant dans l'Art Contemporain; includes some of Friedrich Schlegel and Konrad Fiedler's unpublished works (in French language).
Le Monogramme du Peintre, in Création et critique, texts collected and introduced by Rachida Triki, ATEP, University Press of Tunis, pp. 81–91.
Les Dames de Nage, in Une œuvre de Picasso, (collective work), Ed. Muntaner, col. Iconotexte, Aix-en-Provence, March 2000. pp. 59–70.
2001
Created the journal [Plastik] for the CERAP, Publications de la Sorbonne. N°1, Issue : L'Expérience Intérieure, Arts appliqués / Arts plastiques.
L'Hypermnésie Panoramique, Proceedings of the Symposium L'être au monde, Baie-Saint-Paul, Québec.
La Déambulation orientée objets, Proceedings of the Société tunisienne d'Esthétique et de Poïétique, ATEP, Hammamet, Tunisia.
L'Escamoteur de Peinture, Proceedings of the symposium 'Art & théâtre,' Université de Valenciennes.
2002
[Plastik] n°2, journal of the CERAP, Publications de la Sorbonne. Issue : Facteurs de trouble, Performances / Arts plastiques.
2005
Les Mémoires du Dehors (memories of outside), in Espace et Mémoire, Tunisian Association for Aesthetics and Poietics, Proceedings of the 2d Mediterranean Congress of Aesthetics, Maghreb Diffusion, Tunis.
2007
Bille en tête, Journal Les Carnets du Paysage n°13 & 14, Actes Sud, Arles, pp. 334–343.
Le bain des pommes libertines, une parodie d'orientalité, in Orient / Occident, les Arts dans le Prisme Exogène, Proceedings of the 10th Symposium of the ATEP, Ed. Université de Tunis, pp. 26–35.
L'Orient des Pommes (apples east), Proceedings of the 10th Symposium of the ATEP, Ed. Université de Tunis, pp. 26–35.
2009 - Dans l'atelier de Jean-Claude, Hommage à Jean-Claude Le Gouic, texts collected  by Michel Guérin, University Press of Provence, Aix-en-Provence.
2010 - L'art a-t-il tous les droits ? (does art have rights?), in L'art et le droit, Publications de la Sorbonne, Paris.
Le festin des pommes libertines (the spread of libertine apples), Proceedings of the Symposium Le Festin des Arts, Supervised by Amos Fercombé, université d'Arras, 2010.
2011 - Ah ! Dieu que la terre est jolie (Oh! God ! How beautiful is hearth), Proceedings of the Symposium held at Florence, entitled Paysage, territoire et représentation, Champ Valon, Paris. (to be published).

Journals edited by Richard Conte
Journal Plastik Arts/Sciences (available on line) 4 issues published between 2001 and 2004. Publications de la Sorbonne.
Recherches poïétiques, 9 issues published between 1994 and 2000. University Press of Valenciennes / International Society for Poietics.

Latest symposia and conferences

2010 : 9 to 11 May, Poïétique de la bande-annonce, in Cinéma et Philosophie, symposium hosted by the university of Oran, Algeria, and coordinated by Benmeziane Bencherki.
2009 :
5–6 December : L'imprévisible, Le bleu du ciel et Les caprices de l'aubergine, in L'imprévisible, Symposium on Aesthetics hosted by the CEREAP, at the IUFM of Martinique and coordinated by Dominique Berthet]].
19 to 23 November : Autonomie de l'art, l'artiste a-t-il tous les droits ?  in Philosopher aux portes du désert : L'idée d'autonomie et ses enjeux ontologiques, critiques et politiques, Tozeur (Tunisia), Institut Supérieur des Etudes Appliquées en Humanités de Tozeur (ISEAHT). Research unit "Lumières et Modernité" (03/UR/02-07). Research unit in philosophy «PHILAB» (University of Tunis). UNESCO Chair in Philosophy at the University of Tunis. The CERPHI (UMR 5037, ENS-LSH of Lyon, France). For the World Philosophy Day. TOZEUR, (Tunisia).
8 to 10 June : Globalisation et mondialité à travers la photographie in Création, Représentation et pratique des arts en Méditerranée (redécouvertes et frayages contemporains), 2d session, La ville et l'espace. University of Oran (Algéria), Department of Social Sciences. Research unit Philosophie et son histoire. Network of researchers from the AUF Diversité des Expressions Culturelles et Artistiques, et Mondialisations.
20 April to 1 May : Ah Dieu que la terre est jolie ! '' in Paysage européen & Mondialisation - Lettres, arts et sciences humaines - Florence, Villa Finally, coordinated by Aline Bergé, (Paris 3) Michel Collot (Paris 3) and Jean Mottet. (paris 1)
15–17 March : at Hammamet, L'Instance Technologique, Ferment ou Obstacle pour la création, (closing conference), 12th International Symposium of the ATEP (Tunisian Association of Aesthetics and Poietics): Dimension esthétique, Art et Multimédia, supervised by Rachida Triki (Tunis 1).
13–15 March : La Création, le Profane et le Sacré in Le Sacré et le Profane : Manifestations et Enjeux dans l'Expression Artistique Contemporaine, Institute of Fine Arts of Sousse (ISBAS Sousse), Tunisia.
2008
11–13 December : Le festin des pommes libertines in Les Festins et les Arts, Staterooms of Guînes, Arras, for the international symposium organized by the university of Artois and coordinated by Amos Fercombé (Textes et culture EA 4028).
7–9 November : Un Artiste Contemporain : Mounir FATMI in L'Art Contemporain : Formes, Références Conceptuelles, Limites ..., African Queen Hotel, Hammamet, Tunisia, coordinated by Samir Triki, the ISBAT, Tunis and the CERAP, Paris 1.
2007
3–5 December : L'Ipodologie Créatrice, in French Philosophy and Contemporary Art, Florida Atlantic University, Boca Raton, United States. (invited by Richard Shusterman).
9–11 November : Les Formes Contemporaines de l'Engagement Artistique, at the International Symposium hosted by the University of Gabès, Tunisia, and entitled Art, environnement et développement durable, coordinated by Med Mohsen Zerai.
18–20 March : Pommes libertines ; une parodie d'orientalité in Orient / occident : les arts dans le prisme exogène, 10th symposium of the ATEP, coordinated by Rachida Triki and hosted by the University of Tunis 1, Hammamet.

References

External links
Richard Conte on the CERAP website
Qu'est-ce qu'une pratique ?  Article by Richard Conte put online by Aalborg University (Denmark).

Category:1953 births
Category:Living people