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Download 30 Years After Les Immatériaux: Art, Science and Theory PDF

“In 1985, the French thinker Jean-François Lyotard curated a groundbreaking exhibition referred to 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. whilst, it was once a cloth demonstration of what Lyotard referred to as the post-modern condition.

This ebook contains a formerly unpublished document through Jean-François Lyotard at the notion of Les Immatériaux and its relation to postmodernity. Reviewing the ancient value of the exhibition, his textual content is followed through twelve modern meditations. The philosophers, paintings historians, and artists examine this significant second within the background of media and thought, and think of the recent fabric stipulations caused via electronic applied sciences within the final 30 years.”

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Extra resources for 30 Years After Les Immatériaux: Art, Science and Theory

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Within the figure of modernity, childhood was a situation in which that which belongs to nature and that which belongs to culture – or rather, I would say, that which belongs to matter and that which belongs to language – is not yet dissociated, is indiscernible, indiscernibly combined, mixed. There is a sort of admixture of nature in culture and of culture in nature that is characteristic of childhood. Now, if there is indeed, as I said, such an intimacy of the mind and of matter in the new technology, then one might characterise the latter as placing humanity in a situation of childhood.

It is a matter of rendering each object visible to this visitor’s eye in a window – I would even say as a window, or at least as what one might see in a window or through a window. I thus designate somewhat summarily what fifteenthcentury Italian painters called the veduta – that is to say, the view onto the vista of a landscape. All the windows to see, or through which to see, are organised into a façade, they are collected in a façade, an internal façade as in the case of the Louvre’s Galerie du Bord de l’Eau.

This also means that, at the keyboard and before the screen, we have an experience of time rather than of space. Bizarrely, this predominance of time signifies a sort of preeminence of movement over rest. Space as the site of inscription – above all the space of painting or of hieroglyphics, hierographics in general – is linked to rest, time is linked to movement. The paradoxes of time are paradoxes of movement, and in a hegemony of reading, like that which I have just described very clumsily, we might say that space is itself but a particular case of time, that is to say that rest – the simultaneous grasping of a visual whole by the eye (a relative rest, since we all know that the eye is in fact very active and is itself always in movement, but the movement is not in the object, the movement is in the eye) – this rest itself is a particular case of movement.

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