Suchergebnisse

Après une longue période où la technique a joué surtout le rôle d'instrument au service de l'être humain, nous nous trouvons aujourd'hui dans un système intégral d'informations, de machines, d'algorithmes et de réseaux, dont les intelligences artificielles sont la dernière manifestation, si puissant que, après en avoir définitivement perdu le contrôle, c'est nous-mêmes qui dérivons d'eux. Nous sommes pris dans leurs rets, qui nous enveloppent et nous attachent à tout ce qui est autre. Happé par une spirale contagieuse, l'être humain devient à la fois chose, information, spectacle, marchandise, œuvre d'art et artiste. Il se défait de sa propre identité́ pour se dissoudre dans l'altérité́ et se retrouver autre que soi. Nous voici comme autant de technomagiciens et de cobayes volontaires d'une expérimentation totalisante sur la vie à venir, en temps réel. Dans ce scénario, les IA ne se limitent pas, selon les utopies modernes, à travailler à notre place. Elles finissent par agir avec nous – et même par nous remplacer – dans les domaines jadis exclus à l'emprise technique : l'art, la création, le jeu…

Dans le socle de l'interprétation benjaminienne de l'aura d'une œuvre d'art en tant que dispositif magique par lequel se rend présente une absence, nous suggérons que le processus de reproductibilité technique sollicite des mécanismes sociaux d'appropriation des formes communicatives, dans lesquels l'aura a un rôle central. À la disparition de la valeur culturelle, politique et sacrée d'une œuvre authentique et non reproductible s'oppose la formation d'une chaîne d'instruments, d'objets et d'images à haute densité symbolico-émotionnelle qui rendent le corps social même et ses conformations, sujet et objet de la contemplation. Le cinéma devient la scène médiatique, le territoire où s'inaugure un processus de va-et-vient entre l'œuvre et le public, objet et sujet de la communication et de la culture. Ainsi, dans les méandres auparavant occupés par l'art, s'engage la longue dynamique du devenir art du public.

At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums". ; Numa época em que tudo se torna arte, a arte já não pertence a si mesma, ao ponto de transbordar dos quadros que a enclausuraram durante séculos – museus, galerias, igrejas – com efeitos inéditos não só e não unicamente no campo da estética, mas sobretudo na vida quotidiana. Para compreender esta dinâmica em profundidade, é necessário ter em conta a reprodutibilidade digital da obra de arte, enquanto dinâmica que perturba a relação entre obra e espectador, sujeito e objeto, política e vida quotidiana. A partir da segunda metade do século XVIII, assistimos a uma dinâmica de "estetização do público" paralela ao nascimento da indústria cultural e, portanto, ...

At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums". ; Numa época em que tudo se torna arte, a arte já não pertence a si mesma, ao ponto de transbordar dos quadros que a enclausuraram durante séculos – museus, galerias, igrejas – com efeitos inéditos não só e não unicamente no campo da estética, mas sobretudo na vida quotidiana. Para compreender esta dinâmica em profundidade, é necessário ter em conta a reprodutibilidade digital da obra de arte, enquanto dinâmica que perturba a relação entre obra e espectador, sujeito e objeto, política e vida quotidiana. A partir da segunda metade do século XVIII, assistimos a uma dinâmica de "estetização do público" paralela ao nascimento da indústria cultural e, portanto, ...

In order to fully grasp the spirit of our times, we need to analyse fully the contemporary relationship between spectacle and consumption: spectacular consumption and the spectacle of consumption. The chain of sign merchandise (Baudrillard, 1968) is simultaneously a mean and a vehicle of adherence to the productive and political system. It takes on extraordinary value from the moment it welcomes all that is non-rational in a rationalised society, as well as it embodies the anti-utilitarian aspect of a social system based solely on the logic of utilitarianism. In this sense, the cycle of spectacular consumption coincides with the consumption of bourgeois individuality, while the mass that has become public becomes the matrix in which the subject loses itself and cushions the weight of change in a way to express the impulses marginalized by the social system. ; Para apreender corretamente o espírito de nosso tempo, é necessário analisar em profundidade e na superfície a correspondência contemporânea entre o espetáculo e o consumo: consumo espetacular e espetáculo de consumo. A cadeia das mercadorias-signos (Baudrillard, 1968), meio e veículo de adesão ao sistema produtivo e político, assume um valor extraordinário a partir do momento em que acolhe tudo o que é não-racional numa sociedade racionalizada, bem como o aspeto anti-utilitarista de um social focado, precisamente, na lógica do utilitarismo. Nesse sentido, o ciclo dos consumos espetaculares coincide com o consumo da individualidade burguesa, enquanto a massa que se tornou público se torna a matriz na qual o sujeito se perde para amortecer o peso das mudanças e exprimir as pulsões marginalizadas pelo sistema social.

La manière dont les subjectivités se dissolvent, se reconfigurent et produisent de la culture dans les réseaux numériques modifie radicalement la vie en société. L'identité disséminée dans les réseaux ne vit pas une simple expérience de désincarnation et d'abstraction du réel au sein duquel elle serait physiquement cantonnée ; à travers une telle déréalisation, la personne immergée dans le paysage numérique découvre ses potentialités et tend à se réincarner dans quelque chose de plus grand et de plus complet que le sujet classique, dans une digital persona , personne numérique animée par la tentation de réunir la passion et la raison, l'organique et l'inorganique, le jour et la nuit, dans une condition où l'autre prévaut sur le moi.

International audience ; Tele-electronic populism, the extraordinary and violent upgrade of the traditional populism, is the most impressive political form in the contemporary scenario: its most resounding innovation. Due to its strong drive to represent directly the entire population, it seeks to go through the left-right dichotomy, simply exiling the role of the parties and of the traditional ideological storytelling. It is an update of the oriented marketing, soaked with all codes of the mainstream tv-shows: impertinence, participation, fan culture drawn by social network and conventional populism. Why is evil imagery the source of this phenomenon? Which cultural and societal features do neo-populist forces express? How far do they represent a discontinuity towards the order of the things?

International audience ; Tele-electronic populism, the extraordinary and violent upgrade of the traditional populism, is the most impressive political form in the contemporary scenario: its most resounding innovation. Due to its strong drive to represent directly the entire population, it seeks to go through the left-right dichotomy, simply exiling the role of the parties and of the traditional ideological storytelling. It is an update of the oriented marketing, soaked with all codes of the mainstream tv-shows: impertinence, participation, fan culture drawn by social network and conventional populism. Why is evil imagery the source of this phenomenon? Which cultural and societal features do neo-populist forces express? How far do they represent a discontinuity towards the order of the things?