Can we quantify over everything: absolutely, positively, definitely, totally, every thing? Some philosophers have claimed that we must be able to do so, since the doctrine that we cannot is self-stultifying. But this treats restrictivism as a positive doctrine. Restrictivism is much better viewed as a kind of militant quietism, which I call dadaism. Dadaists advance a hostile challenge, with the aim of silencing everyone who holds a positive position about ‘absolute generality’.

In 1966, Paul Feyerabend published a short essay on the relation between dialectical materialist philosophy and Niels Bohr’s quantum theory, in which he develops several provocative ideas about the relations between science, ideology and society. I use Feyerabend’s essay to construct an account of his ‘Dadaist’ philosophical methodology. I argue that Dadaism is an ironic form of intellectual seriousness, such that the Dadaist is prepared to take any idea or practice seriously as a potentially valuable contribution to collective human (...) thought and action (despite any diverging personal convictions), especially if they find such engagement to be lacking in their local culture. I identify a weakness in Feyerabend’s formulation of Dadaism, so far as it is conceived as a matter of individual epistemic character and thus fails to account for the role of the social structure of intellectual activity. This weakness can be remedied by supplementing philosophical Dadaism with descriptions of the kinds of institutions and incentive structures that might cultivate its constitutive epistemic dispositions. (shrink)

In this article, I argue that methodological pluralism is not identical with methodological anarchism. While the former connotes the existence of different methods that could be legitimately employed in different disciplines or contexts, the latter tends to suggest the non-existence of any legitimate method at all. Consequently, I contend that Afroconstructivism, a recent development in African philosophy supports methodological pluralism but repudiates methodological anarchism. The corollary of this is a critical re-evaluation of Paul Feyerabend’s critique of method. My basic argument (...) is that the epistemological framework of Afro-constructivism accepts Feyerabend’s repudiation of the hegemonic imposition of the method of modern science as valid. However, I argue that an Afro-constructivist interpretation of Feyerabend’s critique gives credence to methodological pluralism as against methodological anarchism. I buttress this position using the methods of logical analysis and argumentation. I begin with an analysis of the question of method, Feyerabend’s critique of method and Afro-constructivism,and then proceed to examine the merit of Feyerabend’s critique from the perspective of Afro-constructivism. At the end, I submit that the logical product of Feyerabend’s critique of method is methodological pluralism. Keywords: Afro-constructivism, Anarchism, Paul Feyerabend, methodology, epistemological dadaism, Pluralism, Reason, Science. (shrink)

English summary: What does Dada mean? The answer lies in the distinction between the perceptible and the designation and the failure to mediate discursively between the two. With the inception of Dada-Zurich - at the intersection between literary and art studies, comparative studies, image-text theory and philosophy - the relationship between modernity and avant-garde as well as between avant-garde and Dadaism was redefined. This redefinition was a consequence of the scandalous aesthetic theoretical insights of Dada Zurich, which concretized in (...) practical and poetic form an aesthetic theory that in itself is aesthetic, and developed an aesthetic-theoretical understanding in which aisthesis takes up a central position. Dada uses the avant-garde as material. The aesthetic theoretical potential of Dada Zurich in turn had an impact not only on the artefacts that were actually used and aesthetically reflected by Dada, but on all modern - including avant-garde - artefacts. German description: Was bedeutet Dada? Die Antwort liegt in der Differenz von Wahrnehmbarem und Bezeichnung und deren scheiternder diskursiven Vermittlung. Mit der Konstitution des Gegenstandes Dada-Zurich - im Schnittfeld von Literatur- und Kunstwissenschaft, Komparatistik, Bild-Text-Theorie und Philosophie - wird das Verhaltnis von Moderne und Avantgarde sowie von Avantgarde und Dada neu bestimmt. Diese Neubestimmung resultiert aus der Erkenntnis der asthetisch-theoretischen Form Dada-Zurichs, deren Konstitution das theoretische Skandalon Asthetischer Theorie (als einer Theorie, die selber asthetisch wird) in praktischer und poietischer Form konkretisiert. Sie entwickelt eine asthetisch-theoretische Erkenntnisform, in der Aisthesis eine zentrale Stellung einnimmt. Dada nutzt die Avantgarde als Material. Das asthetisch-theoretische Potential Dada-Zurichs wirkt dabei nicht nur zuruck auf die von Dada tatsachlich verwendeten (asthetisch reflektierten), sondern auf alle modernen - auch avantgardistischen - Artefakte. (shrink)

The title of this collection of essays refers to a tailor's mannequin that Alfred Brendel spotted in a shop window in Arezzo, a small Tuscan town. Who is this strange lady? And why is she carrying an egg on her head? What is she looking at? The mannequin was purchased and now graces a room in the attic of Brendel's house in Hampstead. Her features convey great artistic seriousness in combination with absurd comedy: the epitome of his own musical and (...) literary preferences. And so, in his delightful new collection, great masters of nonsense meet great masters of music. (shrink)

We humans tend to believe that things are only real in as much as we perceive them, an idea reinforced by modern philosophy, which privileges us as special, radically different in kind from all other objects. But as Graham Harman, one of the theory's leading exponents, shows, Object-Oriented Ontology (OOO) rejects the idea of human specialness: the world, he states, is clearly not the world as manifest to humans. "To think a reality beyond our thinking is not nonsense, but obligatory." (...) At OOO's heart is the idea that objects--whether real, fictional, natural, artificial, human, or non-human--are mutually autonomous. This core idea has significance for nearly every field of inquiry which is concerned in some way with the systematic interaction of objects, and the degree to which individual objects resist full participation in such systems. In this brilliant new introduction, Graham Harman lays out OOO's history, ideas, and impact, taking in art and literature, politics and natural science along the way. From Sherlock Holmes, unicorns, and videogames to Dadaism, Voltaire, and string theory, this book will change the way you understand everything. (shrink)

This book offers an original approach to avant-garde art and its transformative force. Presenting an alternative to the approaches to art developed in postmodern theory or cultural studies, Ziarek sees art's significance in its critique of power and the increasing technologization of social relations. Re-examining avant-garde art and literature, from Italian and Russian Futurism and Dadaism, to Language poetry, video and projection art, as well as transgenic and Internet art, this book argues that art's importance today cannot be explained (...) simply in aesthetic or cultural terms but has to take into consideration how artworks question the technological character of modern power. To emphasize the transformative character of art, the book redefines art as a force field, in which forces drawn from historical and social reality come be to formed into an alternative relationality. Through discussions of such key avant-garde figures as Marinetti, Duchamp, Khlebnikov, and Vertov, and innovative contemporary artists like Viola, Wodiczko and Kac, The Force of Art counters the pessimism about art's social function by recovering and redefining art's transformative role in modernity. (shrink)

La Conscience malheureuse est un ouvrage majeur de la philosophie existentielle des années trente. Jeune poète et critique roumain expatrié en France en 1923, Benjamin Fondane (1898-1944) fait partie de ces auteurs hantés par l'absence de Dieu dans la culture rationaliste moderne marquée par le positivisme. D'abord proche de l'esprit subversif du dadaïsme, il identifie rapidement sa révolte par l'absurde à la démarche ironique et irrationaliste du philosophe russe émigré en France Léon Chestov. C'est l'adhésion sans conditions à sa philosophie (...) existentielle à partir de 1929 qui lui permet de déconstruire la tradition du logos issue d'Athènes. Il ne cessera dès lors de dénoncer un conflit profond entre le " réel " construit par la culture rationaliste et l'existant singulier, entre le savoir et le " non-voir " des poètes et de certains mystiques, entre Athènes et Jérusalem: ce divorce intime, c'est celui de la " conscience malheureuse ". (shrink)

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} The purpose of this study is to analyze the tenets that relate to Dada’s self-understanding of art. The phenomenon Dada is notoriously difficult to describe; some critics hesitate even to use the term “movement.” Focusing on Dadaists’ reflections about the phenomenon itself, we will try to delineate a general image (...) of the Dada in the context of the European avant-gardes of the 20-th century. We will also try to analyze the historical and political context inside which the dada phenomenon occurred. Our main focus will be on two main tenets of Dadaism: the “self-critical” feature of Dada’s self-image as it emerges during the main phases of its history, especially during its early phase, and the political commitment of Dada during its last phases of development. (shrink)

The concept of Nihilism is associated most frequently with twentieth-century movements such as existentialism, postmodernism, and Dadaism. This work shows that a tradition of nihilism in the nineteenth century anticipated these movements. With its origins in Enlightenment science, this tradition had an influence on philosophy, religion, literature, and drama.

L’article présente un projet d’édition des OEuvres complètes du philosophe et satiriste allemand Salomo Friedlaender Mynona , entrepris en 2005. Partant de Schopenhauer, Nietzsche, Goethe, Kant et Ernst Marcuse, le philosophe a développé les raisons fondamentales de « l’indifférence créatrice » et d’une polarité spécifique non romantique vers une étude philosophique approfondie. Installé à Berlin à partir de 1902, Friedlaender se trouvait au coeur des courants philosophiques et littéraires du XXe siècle – l’expressionnisme et le dadaïsme. Pacifiste déterminé et kantien (...) à l’heure de la Première guerre mondiale et de la République de Weimar, il a formulé dans ses satires populaires, les grotesques, une critique sévère de la culture en attirant l’attention, avec insistance, sur l’utopie pratique de la paix éternelle. En raison des circonstances difficiles – émigration à Paris en 1933 – et d’un malheureux hasard, il est tombé dans l’oubli. Grâce à cette nouvelle édition, dans le cadre de laquelle devraient paraître trente volumes dans les années à venir, il sera présenté au public à sa juste valeur. (shrink)

This interview is inspired the most important working-hypothesis presented in the volume Aesthetic Revolutions and the Twentieth-Century Avant-Garde Movements, edited by Aleš Erjavec, that questions the legitimacy of the distinction between aesthetic and artistic avant-gardes, supported by the relationship of each concept with the modern revolutionary politics. The relevance of this contrast for determining modernity both in its ideological shape and its continuity, in the terms of postmodernity will be criticized in our discussion with professor Erjavec, reflecting on the manner (...) in which the artistic communities representative for Surrealism, Russian constructivism, Situationist International, Dadaism, Italian Futurism, 1960s American Art, as well as for Slovenian, Mexican or Romanian artistic movements of the 20th century opened the path for different democratic or totalitarian political attitudes, practices and ambitions. (shrink)

Cet essai sans pretention theorique offre les reflexions d'un homme de haute culture sur l'abondante production linguistique de l'epoque contemporaine. S'il ne pretend rien apprendre aux linguistes, Etienne Gilson leur emprunte matiere a reflexion et reconnait sa dette envers Saussure, Benveniste, Vendryes et Chomsky, dont il prolonge les recherches en envisageant la grammaire comme art de penser. Toute philosophie implique en effet une certaine vue du langage, et la matiere meme de la reflexion linguistique est chargee de substance philosophique. Explorant (...) les dimensions ludiques aussi bien que metaphysiques du langage, GIlson evoque les entreprises menees depuis l'Organon d'Aristote jusqu'a Wittgenstein et au dadaisme, en passant par Port-Royal et les linguistiques dites cartesiennes, et atteste en cela la survivance de l'ambition des grands grammairiens philosophes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Martin Heidegger. Between Good and Evil by Rüdiger SafranskiManfred KuehnRüdiger Safranski. Martin Heidegger. Between Good and Evil. Translation by Ewald Osers. Cambridge: Harvard University Press, 1998. Pp. xxii + 474. Cloth, $35.00.Martin Heidegger is without doubt the most controversial philosophical figure of the first half of the twentieth century; and there can be little doubt that he will remain controversial for a long time to come. Many regard (...) him as one of the greatest philosophers of all times, but many others view him as little more than a charlatan. His work is widely popular in some circles while completely neglected in others. Another part of the reason for this is Heidegger’s life. A German nationalist from early in his life, his jingoism turned quickly and almost naturally into Nazism at what seemed to be an opportune moment. Accordingly, it has seemed to a number of critical scholars that his philosophy was ready-made for this ideology. His work and life therefore seem more closely connected than they usually are among philosophers. And what his life reveals, or seems to reveal, is neither insignificant nor pretty.Accordingly, there have been quite a few biographical and semi-biographical studies of Heidegger recently. Safranski’s biography is not the worst of these. The original German title was Ein Meister aus Deutschland. Heidegger und seine Zeit, which literally translated would have read: “A Master from Germany. Heidegger and His Time.” Safranski is explicit about the reason for the title: Heidegger “really was a ‘master’ from the school of the mystic Meister Eckhart. More than anyone else, he kept open the horizon for religious experience in a nonreligious age. He found away of thinking that remains close to things and avoids a crash into banality.” But, secondly, “he really was very ‘German’ … What emerges is the lovable, the fascinating, and the abysmally profound element of a specific German road in philosophy, one that was to become a European event.” And then, “through his political activity he also had about him something of that master from Germany that Paul Celan’s poem refers to” (x). The poem is of course the “Deathfugue.” It compellingly speaks of life and death—especially death—in German concentration camps, repeating several times the line “this death is a master from Germany.”One might doubt whether Heidegger always avoids “a crash into banality.” One might also be skeptical whether the “specific German road to philosophy” is “lovable” and “abysmally profound.” But Heidegger is certainly a fascinating figure, and his political and philosophical actions cannot and must not be seen in isolation from the death that so many died in German concentration camps. It was not just that [End Page 376] Heidegger had “about him something of that master from Germany,” but he played a part in creating the mythology that made this master possible. Perhaps his was not the most important part, but it was not insignificant either. And the short account of how Celan and Heidegger met and tried to come to terms with each other (422–425) is one of the most interesting parts of the book. Indeed, I wish that Safranski had chosen to concentrate more on this aspect of Heidegger’s mastership. But what is utterly incomprehensible to me is why the editors chose to publish the book with the subtitle “between good and evil.” It belittles the very problem Safranski’s connection raises. To be sure, Safranski himself concentrates more on Heidegger’s mysticism and his German road in philosophy, and he does not ultimately face up to the connections between Heidegger’s religiosity and mysticism, his fascination with death and dying, and the death Celan laments in his poem.Yet, there is much that is interesting and important in the book. It tells the story of Heidegger’s life better than any previous biography, and it shows how closely Heidegger’s early thinking was connected with the currents that shaped intellectual life in Germany during the twenties and thirties of the twentieth century. More specifically, he calls attention to Heidegger’s affinities with Dadaism (99–100), and he emphasizes the importance of Heidegger’s “secret principal work... (shrink)

Avant et pendant la Première Guerre mondiale, en Occident, ont fleuri des mouvements qui, parce qu'ils ont conjointement revendiqué un renouvellement radical des pratiques artistiques et une remise en question sociale plus large, ont a posteriori été appelés «avant-gardes». Ce sont ces mouvements qui, du futurisme italien à dada en passant par le futurisme russe, l'imagisme et le vorticisme, sont au centre de cet ouvrage. Aucun, au moment de sa fondation, ne s'est pensé d'«avant-garde». Tous ont en commun de s'être (...) définis sur le mode de l'action collective, d'avoir été fondés en tant que groupes et de s'être pensés les uns par rapport aux autres. L'analyse fait émerger, dans le contexte de la modernité et du modernisme occidentaux du premier XXe siècle, la spécificité de ces mouvements autoproclamés, qui les distingue à la fois d'auteurs individuels d'«avant-garde» qui ne se sont jamais reconnus dans aucun mouvement et aussi d'autres groupes contemporains qui ne se sont pas autoproclamés tels - le vorticisme vs Bloomsbury, le cubisme ou l'expressionnisme vs le futurisme ou le dadaïsme. (shrink)

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such (...) production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value. (shrink)

In 1797 Friedrich Schlegel wrote philosophy of art usually lacks one of two things: either the philosophy, or the art. This collection of essays contains both the philosophy and the art. It brings together an international team of leading philosophers to address diverse philosophical issues raised by recent works of art. Each essay engages with a specific artwork and explores the connection between the image and the philosophical content and how philosophy can aid interpretation of the artwork. The discussion ranges (...) over political, ethical and religious concepts, such as apathy and irony, to standard problems in the philosophy of art, such as expression, style and depiction, as well as major movements in art history, such as Dadaism. Many of the contributors are distinguished in areas of philosophy other than aesthetics and are writing about art for the first time. All show how productive the engagement can be between philosophy, more generally, and art. (shrink)

This book critically analyses the "mutual illuminations" between literature, religion, architecture, films, performative arts, paintings, woodworks, memes and masks cutting across time and space. In architecture for example, the eventual success of a project depends on the harmony between physical sciences and aesthetics, design and planning, knowledge of building material, the local climate, and awareness of cultural sensibilities. This volume affirms that aesthetics and arts are deeply linked through existential issues of who I am. The essays in this volume present (...) diverse discursive structures showcasing the in-between spaces between various art forms and mediums, such as, architecture, literature and memory, Kafka in SoHo; Kafka and Bernhard, Kirchner's woodcuts; pictorial and stage representations of E.T.A Hoffmann, Hesse's fairy tales; translations of Pañcatantra; Nietzsche, ritual arts and face masks; martyrdom in La chanson de Roland, Goethe and Hafiz, Indian thought in Martin Buber; Rhythms of the 'Third' across cultures; Dadaism and contemporary memes This book examines these sublime linkages in a comparative and interdisciplinary way. Engaging and intersectional, this volume will appeal to students and scholars of arts and aesthetics, literature, philosophy, architecture, sociology, translation studies and readers who are interested in cultural, intertextual, intermedial, and comparative studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Holocaust Visions: Surrealism and Existentialism in the Poetry of Paul CelanVéronique M. FótiHolocaust Visions: Surrealism and Existentialism in the Poetry of Paul Celan, by Clarise Samuels; x & 134 pp. Columbia, South Carolina: Camden House, 1993, $53.50.Samuels’s thesis is that Celan’s poetic work in its entirety can and should be understood as a comprehensive and unified philosophical system, in which each poem is assigned its place. This system (...) is not outlined in terms of its organizing principles, but rather in its topography of three superimposed layers. The top layer (which an empiricist would consider foundational) mirrors an “objective” reality and is informed by finehoned observation, whereas the middle layer constitutes an “ideological program” that “attempts to establish a socio-political value system” (p. 2), while the supporting bottom layer offers an “existentialist epistemology.”Despite her stress on systematicity (obsolete since Hegel), Samuels identifies surrealism (particularly the strand deriving from Breton) and existentialism as the formative influences on Celan’s poetics; and she carefully explores the interrelations of these movements of thought with the heritage of French symbolism, and with Dadaism and Marxism. She does not, however, use guiding concepts, such as “epistemology” or “ideology,” in any precise philosophical sense. By “epistemology” she seems to mean a fundamental concern for reality and truth, coupled with the belief that truth is accessible beyond [End Page 382] social constructions of meaning, whereas “ideology” is used in the various senses of revolutionary program, utopian vision, structure of ideas, or even just ideation (as in “On the ideological level, the Holocaust fulfills the surrealist intention of entering the individual’s subconscious,” p. 108).On the basis of her analyses of surrealist and existentialist thought, Samuels examines Celan’s poetry and poetics with a view to his search for an “alter reality” that would transcend, but not negate, the “Holocaust universe.” She first researches Celan’s syntactic structures, such as the “genitive phrase,” the elliptical sentence, or the fragmentation (and recombination) of words, to move on to a discussion of his tropes, which she arranges broadly into “representations of space, time, persons, and actions” (p. 39). Her discussion of Celan’s spatial tropes, particularly of his devastated imaginary landscapes and places of loss (unfortunately “space” and “place” are not distinguished), is especially compelling. It is further enriched, in the final chapter, which seeks to elucidate Celan’s notion of utopia and to locate utopia in art, by reference to the visual work of Tanguy, Ernst, and Magritte.The book as a whole is meticulously researched and includes extensive discussions of the secondary literature, with a slant toward Germanistik rather than philosophy, and with perhaps a particular debt to Marlies Janz. Its weakness is, in a way, tied to its strength: in her discussions of philosophical concepts and movements, Samuels seems to rely largely on (somewhat dated) secondary literature, so that her philosophical understanding is frequently a confused amalgam. For instance, she links Sartre’s in-itself to the Kantian noumenon (p. 20) and goes on to locate it, not only in the “universe,” but also “at the core of the human self,” so that the for-itself contrasts with it as a “superficial” construction, a sort of artifact that needs to be “controlled.” She assimilates the nihilating character of Sartrean consciousness to a “principle of nihilism” that supposedly characterizes existentialism, while nevertheless interpreting Sartre’s humanism as a turn toward “the eternal aspect” of mankind. Heidegger is cast as an existentialist in search of a literalized authenticity, while his critique of Sartrean humanism is simply ignored.In treating Celan’s poetry as systematically coherent and as, in some sense, ideological, Samuels not only disregards the striking stylistic changes that characterize its various phases, but she also does not try to unravel its intricate textual fabric of allusions (notably to Hölderlin and Trakl), to analyze textual structures such as the displaced re-inscription of the date (notably Büchner’s Jänner), or to respond to its unleashing of the semantic energies that lie latent beneath the surface of ordinary language. Sometimes she overlooks her own inchoate interpretive insights, as in her two discussions of parts of... (shrink)

Ein Mund mit zwei Ohren -- Daniil charms. Es war einmal ein Mensch ; Milieuszene : ein Vaudeville ; Anekdoten aus dem Leben Puškins ; Der Erginder Anton Pavlovič Šilov -- Alles und nichts. Zum Dada-Jahr 2016 -- Welimir Chlebnikow. Beschwörung durch Lachen ; Luftigen Luftold ; Schwarzlieb -- Die Dame aus Arezzo -- Charles Amberg. Ich reiss' mir eine Wimper aus -- Paul Scheerbart. Singende Schlangen -- Kurt Schwitters. Kleines Gedicht für grosse Stotterer -- Zu Haydns "Sieben letzten Worten" (...) -- Musik: Licht und Dunkel! -- "Winterreise" -- Hans Arp. Der Pyramidenrock ; Aus Konstellationen -- Ernst Jandl. Steinbock ; Reihe ; Hünpisch ; Wien: Heldenplatz ; Gemischter Satz -- Mein muikalisches Leben -- Christian Morgenstern. Das grosse Lalula ; Die Geruchs-Orgel ; Das Knie -- Über Humor, Sinn und Unsinn. (shrink)

" Si rien ne change avant un demi-siècle, écrivait Flaubert, l'Europe languira dans de grandes ténèbres ". un semblable pressentiment en persuadait Baudelaire : " Le monde va finir ". Comme si le sentiment de quelque décadence était aussi constant qu'inévitable, Péguy le notait encore : " Tout ce que nous avons défendu recule de jour en jour devant une barbarie, devant une inculture croissante, devant l'envahissement de la corruption politique et sociale. " hier encore, à l'occasion d'un tout banal (...) changement de calendrier, historiens, sociologues, politologues, futurologues ne furent-ils pas sollicités de scruter dans ce qu'ils connaissent du passé ce qu'ils pourraient y voir du futur? Or d'où vient que nous nous interrogions avec autant de perplexité sur l'humanité à venir, su ce n'est que nous doutions de nous y reconnaître? D'où vient ce sentiment d'un hiatus entre ce qui nous précédait et ce qui déjà nous suit? Cet essai s'interroge sur la crise de la conscience contemporaine. Est-elle aussi illusoire que toujours, ou mieux fondée que jamais? Dans un univers de toutes parts médiatisé par les sciences, administré, programmé, planifié et rationalisé par les techniques, la répudiation de la raison, la destitution de la vérité, la frénésie de l'immédiation ne dessinent-elles pas une nouvelle figure de l'homme? Livré à toutes les médiations et n'aspirant qu'à l'immédiat, ne suivant aucune règle mais conditionné par toutes, calculant toutes choses et s'abandonnant aux plus incontrôlées, ; n'en est-il pas disloqué? (shrink)