“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 commencing to impression each point of existence. whilst, it was once a cloth demonstration of what Lyotard referred to as the post-modern condition.
This ebook includes a formerly unpublished record via Jean-François Lyotard at the belief of Les Immatériaux and its relation to postmodernity. Reviewing the ancient importance of the exhibition, his textual content is followed via twelve modern meditations. The philosophers, paintings historians, and artists examine this significant second within the heritage of media and conception, and think about the hot fabric stipulations led to by way of electronic applied sciences within the final 30 years.”
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Additional info for 30 Years After Les Immatériaux: Art, Science and Theory
One is going toward the exit, okay, but can one get there in various ways, or via one single path; and what does the exit mean? This is a rather important difference from the street, where the analogy must 47 48 30 Years after Les Immatériaux end, for the street only ever opens onto another street. There will probably come a moment when, from the street, one passes into the countryside – an extraordinarily interesting and bizarre moment, in fact; but one that is increasingly postponed and which, moreover, in contemporary cities and metropolises, is probably evaded rather than postponed.
The imaging function of the exhibition – and this, moreover, is why this space is privileged – is to identify, to permit the visitor to identify his belonging to a culture, to identify objects and to permit identification through the identification of the objects presented. I will add that, insofar as it is a question of perambulation, it is a question, as we shall see, of a sort of educational journey. But before talking about this, I should like to clarify something else: what is visualised – staying with the modern space of the exhibition still – are fragments of stories that are identifiable because they are a part of culture.
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. I have said that there is an eye, an eye in movement, an eye that walks. This perambulation is very important because fundamentally it obliges the designer – the one who is going to make a synopsis – to ask himself the question: What is it to walk in an exhibition? Where is one going? One is going toward the exit, okay, but can one get there in various ways, or via one single path; and what does the exit mean?