Photo-Fiction, a Non-Standard Aesthetics (Univocal) (English and French Edition)

Photo-Fiction, a Non-Standard Aesthetics (Univocal) (English and French Edition)

François Laruelle

Language: English

Pages: 46

ISBN: 1937561119

Format: PDF / Kindle (mobi) / ePub


Twenty years after cultivating a new orientation for aesthetics via the concept of non-photography, François Laruelle returns, having further developed his notion of a non-standard aesthetics. Published for the first time in a bilingual edition, Photo-Fiction, a Non-Standard Aesthetics expounds on Laruelle’s current explorations into a photographic thinking as an alternative to the worn-out notions of aesthetics based on an assumed domination of philosophy over art. He proposes a new philosophical photo-fictional apparatus, or philo-fiction, that strives for a discursive mimesis of the photographic apparatus and the flash of the Real entailed in its process of image making. “A bit like if an artisan, to use a Socratic example, instead of making a camera based off of diagrams found in manuals, on the contrary had as his or her project the designing of a completely new apparatus of philo-fiction, thus capable of producing not simply photos, but photo-fictions.” One must enter into a space for seeing the vectorial and the imaginary number. Laruelle’s philo-fictions become not art installations, but “theoretical installations” calling for the consideration of the possibility of a non-standard aesthetics being of an equal or superior power to art and philosophy, an aesthetics in-the-last-instance that is itself an inventive and creative act of the most contemporary kind.

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Collecting and Appreciating: Henry James and the Transformation of Aesthetics in the Age of Consumption (Cultural Interactions: Studies in the Relationship between the Arts)

Aesthetics and Subjectivity From Kant to Nietzsche

 

 

 

 

 

 

 

 

 

 

 

 

 

semblant, the one that makes believrr in the in-itsel£ Unilateral complementarity is a deconstruction of ecstasy or phenomenological distance, that which Michel Henry gives as in-itself and from which he goes to the mystique of radical immanence in which the affects replace the clones of the world, whereas it is possible to deconstruct and quantically generate it in its transcendence. We are making the genesis of the sketch or the being-sketched of the clone or of the photo instead of

3 English used in the original text. 68 69 . ... having the Principle of Sufficient World, or its heaviness (even 3D cinema is unburdened of the world). The photo has something sterile about it. It floats or wanders like angelic multitudes that amble from heaven to earth and hesitate to posit themselves, like birds or ghostly creatures from a world alleviated of itsel£ The photo is under-determined by the accumulation of sketches and not over-determined. The photo-being is

realism as the objective appearance of photo-fiction. The photograph is, in one lone image a subject-whok whose unity is conserved and transformed by inversion of its image, this implies the variable of the camera which we have a tendency to treat as a neutral receiver. Whereas it is already a quasi-quantic experience. With this difference between the photograph and its algebraic and generic condition of photo-fiction that at first we have the tendency to interpret the camera as a simple

photo-centrism. To summarize, photo-fiction and even the. photo are both matrices with dual input. The photo is an apparatus with two variables: the subject or the world and the apparatus and its technology, both of which are integral parts of the resulting photo. But what we must really consider as an indivisible whole is the "photographic posture," a conjugation of optical, perceptive, and chemical properties that can only be fully understood as those entangled, non-local properties of a

of the quantum should be possible as well as a photo-fiction along with so many other possible scenarios. To think "aesthetics" in the form ofscenarios, quantically conjugating a variety of arts and philosophies, would enrich and liberate possible productive forces and would justifY the existence of art not as thought, as was talked about with post-modernists, but a veritable thought-art, entirely specific and worthy of being called "contemporary." In any case, one must not only

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