Photo-Fiction, a Non-Standard Aesthetics (Univocal) (English and French Edition)
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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.
how to stop at the unfolding that conserves a trace of the fold. Rather than a topology of the double band that crisscrosses, making a loop and by alternating recomposes the form of the object as a dotted outline, it is a unilateral or transfinite complementarity associating the strip that ascends from below with the cutting of the object, traversing it like a tunnel before eventually returning back on itself after twisting itself and sinking into appearance. However a unilateral complementarity
model. Together they once again form products indexed on the quantic or the noted impossible real within the square root of -1 which superposes with itself like a wave or force of vision traversing the matrix. What happens in the process between the preparation of the experience and the "finished" product of photo-fiction can apparently be understood or reduced to technology and optics with identifiable pathways and trajectories. But from one to the other, once we find ourselves within
modern photo-centrism and its ideology, we must assert the photo as a flux of immanence traversing the world, developing it iri a myriad of"quartial" sketches. Multiplying photos to is not an argument against the immanence of the operation. Photography as merchandise already has its own ogy. Itself sponraneously mystical precisely because, bemg so open to the world; it can only imagine a photography with one's eyes closed, which dialectically obliges us to reaffirm
end is translated not into numbers but Into philosophemes. And here we have the variables of the subject=X of 'photo-fiction, variables endowed with a complex number that defines them as vectors and as a magnitude of probability. The two variables, science and philosophy, seem able to express themselves together from the same object, from the man or subject=X of philosophy and.science, but the matrix dissolves this appearance of transcendent unity when it comes to the generic object. In
PHOTO AS MATRIX-FICTION 55 61 THE AESTHETIC INSURRECTION AND THE GENERIC EXTENSION OF KANTIAN AESTHETICS OF FICTION AS CLONE: FROM THE VECTOR TO TRANSCENDENCE 67 THE TWO REALISMS 73 THE GENERIC CHAOS OF PHOTO-FICTION 77 ETHICS OF THE PHOTOGRAPH, FROM CONSUMPTION TO COMPASSION 83 PREFACE Aesthetics, particularly since Hegel, is the claimed domination of philosophy over art by which philosophy claims to unpack its meaning, truth, and destination after the event of art's supposed death.