TRUST focuses on personal data protection measures to meet the objectives of the RGPD but also the texts in preparation such as the "Data Act" or the "Data Governance Act". We propose to study and develop new security solutions, based on advanced cryptography, for use cases involving the reuse of personal data. These use cases will present various configurations in terms of actors, type of data and processing, opening the way to different technical and legal issues. We thus seek to anticipate legal evolutions and prepare technical architectures to allow the reuse of personal data in compliance with the various legal frameworks.

As far the physical world is concerned, the standard realist attitude which conceives of objects as existing independently of our representations of them might be (prima facie) plausible: if things go well, we represent physical objects in the way we do because they are so-and-so. In contrast, as we want to argue, in the mathematical world the situation is reversed: if things go well, mathematical objects are so-and-so because we represent them as we do. This does not mean that mathematics could not be objective: mathematical representations might be subject to constraints that impose objectivity on what they constitute. If this is right, in order to understand the nature of mathematical objects we should first understand how mathematical representations work. In the words of Kreisel’s famous dictum: “the problem is not the existence of mathematical objects but the objectivity of mathematical statements” (Dummett 1978, p. xxxviii). The problem we tackle concerns the philosophical question of clarifying the role of representations in mathematical reasoning and proofs and the way they contribute to mathematical ontology and understanding. This is a fresh inquiry concerning a classical problem in philosophy of mathematics connecting understanding to proofs and to the way the ontology of mathematic is conceived. But our starting point is neither classical proof theory nor classical metaphysics. We are rather looking at the problem by opening the door to the practical turn in science. In our perspective the question is then neither to find a topic-neutral formalization of mathematical reasoning, nor to offer a new argument for the existence of mathematical objects. We rather wonder how appropriate domains of mathematical (abstract) objects are constituted, by appealing to different sorts of representations, and how appropriate reasoning on them are licensed. Accordingly, we plan to analyse: (i) in which sense in mathematical practice relevant stipulations determine objects by appealing to appropriate representations; (ii) in what sense inferential rigor conceived in a contentual (informal) perspective can depend on these stipulations; (iii) in what sense it is possible to characterize nevertheless (by interlinking philosophical studies with scientific investigations) informal provability by formal means, which allows using logic and mathematics as a tool for epistemology. We also contrast our approach with classical foundational approaches of mathematics and logic, like classical Platonism and Nominalism, which both share an “existential attitude” facing mathematical objects (they both take as crucial the question whether they exist or do not exist, though giving opposite answers) and consider mathematical reasoning as topic-invariant.

This project will address the problem of the compartmentalized academic study of the diverse Frankish- and Islamic-ruled societies through the first comprehensive study of Christianities in the Middle East. It aims to study the inter-Christian and Christian-Muslim interactions, on the assumption that these interactions contribute to shaping these communities. Although each Church has been partly studied for its own sake, no analysis of the cross-flows between the churches and with the sovereign powers that have ruled the Middle East from the 12th to the 16th c. has yet been carried out. It is time for a comprehensive and connected history of Christianities in the Middle East. Decompartmentalizing historiographies implies reading new archival sources along with known published texts from a connected history perspective and moving the analysis of communities from their centers to areas of contact. Jerusalem, owing to its centrality in terms of archives and practices, will be placed at the heart of the project, in tension with the regional space as a whole. ChrIs-cross has three main objectives: • To integrate the history of Christianities within the Islamicate world by identifying the actors, places and different contexts of exchange, from a bottom-up perspective; • To study the Christian communities of the Middle East at a pivotal moment, that of reconfiguration in confrontation with the progress of Islamization, through the strategies of Christian churches and communities, and the role of local authorities, both Christian and Muslim; • To provide both a global and a local vision of Jerusalem through a survey of the impact of intercommunity relations on the urban transformation, supported by a geographic information system: as a global city, Jerusalem is likely the manifestation of a plurality of interactions between the Christian and Islamic worlds, that provides a key to understanding the growing integration of the Middle Eastern region.

At the crossroads of interconnected history, of cultural transfers and of material culture, the scheme Exogenesis proposes to establish the concept of "boundary objects" as objects born to exogenesis, that is to say, the contact with materials, techniques, shapes, skills, or items coming from the antipodes. Since the 16th century, from which era the cognizance of four separate continents has been entrenched, such objects have also been done to perpetuate the link binding Us to the Others (Todorov T., 1989). If the focus on the history of objects is commonplace in the historiography of art, the approach using the most recent anthropological methods relative to objects, conceived as concentrators of meaning, and applying those methods to the study of Europe understood as a meeting ground, is relatively novel. Indeed, using this approach, the focus on "boundary objects" will translate into the analysis of metabolic phenomena. More precisely, studying the usage of “boundary objects” permits to address the history of the construction of the European identity through dialogue with the Others. In such a way, the history of art will itself be driven towards its boundaries. The object as a conveyor is still insufficiently studied as such in the interconnected history of economics, politics or sociology, although it is at times found as an ingredient of historical or artistic speech. A fortiori, the object engendered by a match with an extra-European item has rarely been a point of focus. The scheme proposes to bare remedy to this by pointing to the precise moment when the "exogenous" makes the "endogenous". The making of the meaning of objects by the surrounding context as well as the intrinsic ambivalence of objects (Jeudy-Ballini M.-B. Derlon 2008) are key issues of the scheme. Whatever the surrounding context, nature or provenance, the various terms of production of “boundary objects” will be analysed. "The boundary object" will be regarded as a hub of complex relations which will be analysed from a nexus of selected cases. A paradigmatic "boundary object", the nautilus of the South Pacific Seas mounted by German silversmiths in the late sixteenth century, has been recently described as a "relic holder of a new type” (du Crest S., 2009). Around these particularly meaningful "boundary objects", the status of objects can be addressed effectively so as to further lead the history of art into a more thorough understanding of all its objects. These objects manufactured in Europe, born in the European consciousness, can be understood only in the European context. They do not amount to interbreeding since they have been founders of a European identity they still help build. Taste, imitation, stimulation, hybridisation are essential ingredients of the process of acculturation (Labrusse R., 2011). Based on the analysis of the contextualization, the project proposes to follow the reasons and issues of the production of the « boundary objects » in which the track of their originary exogenesis is still visible. Following this process in the design and making, "boundary objects" have become, and still are, objects of Europe. The relation to the Other, with an interplay of fascination and repulsion, is now made conspicuous by these objects. This process of acculturation generates such "boundary objects" with their shapes. Exogenesis proposes to elicit the related causes and consequences.

MUSICOVID is an interdisciplinary research project that places at its centre the analysis of the modes of adaptation, resistance and innovation of musicians and their audiences in times of Covid, when the question of a brighter tomorrow is so acute. It aims to question the new place of live music in a society in crisis, both from the point of view of restrictions and prohibitions ("non-essential" or potentially dangerous practices), and from the point of view of the factors that seem to express an irrepressible need to live and to ensure that music lives on (adaptation, resistance, innovation), thereby endowing the musical experience – declared to be "non-essential" – with essential virtues (for physical and emotional well-being, for sociability). This study, which sheds light on the link between pandemics and music, between biopolitics and musical life, and the analysis of the stakes attached to prohibitions and practice, goes beyond a simple academic framework to open up concrete results, available to social, political and economic actors and citizens. The team, with its strong experiential capital in terms of surveys on musical practices and cultural situations of great crisis, will mobilise partners representing the richness of the worlds of music. By articulating five areas (memory, resilience, constraint, pedagogy, representations), MUSICOVID seeks to meet a fourfold challenge: (1) To document a crisis, to collect material (musical experiences) and to conserve/preserve the memory of the health crisis in order to analyse it in the light of several theoretical approaches; to constitute this memory as a resource; (2) To understand which individual or collective strategies social actors adopt to get through the ordeal of a pandemic, from the threefold lens of adaptation (adjusting practices to the constraints of the situation), resistance ( to resist the repressive models of an accepted imaginary, imposed actions and political decisions) and innovation (choosing or being forced to introduce something new into something that is well established); to characterise a society's relationship to music in terms of a benefit/risk cursor; to understand how a society faced with a crisis organises and ensures the survival of its members and the maintenance of social cohesion; (3) To supervise and organise, on the basis of these scientific results, a common reflection between researchers, the different actors of the music worlds, policy-makers and public authorities, favouring the dynamisms of collective intelligence; to provide concrete solutions and tools in the cultural and socio-economic fields aimed at solving the challenge of arbitration between bare life and social life; to strengthen the place of humanities and social sciences in the expertise serving society; 4) To equip citizens with the knowledge and tools required to imagine alternative ways to fight the pandemic and to realise that music is a cultural asset essential to life (Freiburg Declaration on Cultural Rights, 1993 and 2007) and more broadly a springboard capable of "recreating the participatory experience of democracy" (Honneth 2020); By preserving the memory of musical experiences in times of Covid, by analysing the strategies of the actors (adaptation, resistance, innovation), by making collective intelligence a source of shared profit to prepare for the aftermath, by proposing a global model likely to be duplicated in other fields of culture, MUSICOVID aims to respond to a social need in a strong ontological reading: can we build ourselves without music?