30 Years After Les Immatériaux: Art, Science and Theory

“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 commencing to influence each point of existence. even as, it used to be a fabric demonstration of what Lyotard known as the post-modern condition.

This ebook contains a formerly unpublished record via Jean-François Lyotard at the belief of Les Immatériaux and its relation to postmodernity. Reviewing the historic importance of the exhibition, his textual content is observed via twelve modern meditations. The philosophers, paintings historians, and artists examine this crucial second within the heritage of media and thought, and give some thought to the hot fabric stipulations led to by way of electronic applied sciences within the final 30 years.”

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126. 43 44 30 Years after Les Immatériaux I find this formula very interesting, and I would say that, in the semantic field onto which the term “immaterial” leads us, we also find this idea of transsexuality – or, if you prefer, angelism. And here I would not have to look far to find a whole mystical tradition that, in its own way, anticipated the medical tradition of postmodern transsexuality. I would like to associate one last word with that of immaterials, and it is the word immortals, but I do not have the time to develop that fully here.

The exhibition allows for a sort of apprenticeship of recognition, of characters, of places, of artists, of that which is presented and of the visitor; an apprenticeship in culture for the visitor in the exhibition. And I would say that this model, this type of auto-identificatory visual machine that is the exhibition, finds its complement or its reciprocal inverse in the modern street, which is also conceived as a gallery – unlike what is the case in a village, for example. The street is conceived as a gallery, the shop windows of the modern street are like picture frames which in their turn give onto landscapes, portraits – scenes which, what is more, just like in the gallery, permit identification.

This model of performativity, which corresponds in a certain way to the conquest of the now, implies a sort of priority of language, or in any case a hegemonic predominance of oral language over written language: “I declare the meeting open” is only performative at the moment and in the place where it operates, in actual and punctual fashion; when you read in the minutes of some meeting, or in a novel, that the chairman has said “I declare the meeting open”, it does not follow that in your space-time as the reader, some meeting is now open.

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