“In 1985, the French thinker Jean-François Lyotard curated a groundbreaking exhibition known as Les Immatériaux on the Centre Pompidou in Paris. The exhibition confirmed how telecommunication applied sciences have been starting to influence each element of lifestyles. while, it was once a cloth demonstration of what Lyotard known as the post-modern condition.
This e-book includes a formerly unpublished record by means of Jean-François Lyotard at the belief of Les Immatériaux and its relation to postmodernity. Reviewing the historic value of the exhibition, his textual content is followed via twelve modern meditations. The philosophers, paintings historians, and artists examine this crucial second within the background of media and concept, and examine the hot fabric stipulations caused by way of electronic applied sciences within the final 30 years.”
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Extra resources for 30 Years After Les Immatériaux: Art, Science and Theory
One goes from the street to the gallery, from the gallery to the street; one goes from one’s home to the street and from the street to one’s home or to another home. Thus the question of knowing what one does when one walks through the gallery is, of course, a very worrying question for someone who has responsibility for presenting a synopsis. One might be tempted to say – taking up again the analogy of the road and the gallery (despite the differences I have just mentioned) – that the gallery is like a rational street, a utopic street.
And here I would say that, for example, when we say “shock”, we cannot but think of Walter Benjamin’s outline of an aesthetics of shock for modernity, following Baudelaire. In certain regards we could specify how, presumably along with postmodernity, this aesthetic of shock, this aesthetic of sublimity through shock, which is kept intact in surrealism … but that is another question. I can now come back to the second aspect of this type of classical schema, which is in fact a modern schema, of the exhibition – the schema-type of the modern exhibition: perambulation.
The same would apply if it were a question of a painting (to stay within the domain of the arts), but also if it were a question of a light signal emanating from a sun many millions of light-years away; and it would be the same if it were a question of mutant bacteria in a biochemical laboratory – these, also, would be treated as a message. This is an idea that has become commonplace. It is closely linked to the very idea of modernity, for it is evidently only at the cost of making every given a message that the hegemony of the intelligence, will, and imagination of the subject can be applied to a given, for this application means very simply that the given must be understood as a sign, and thus as referring, and as being immediately integrable into language.