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.
Language is a simple productive force without its superior or over-totalizing finalities, but with its immanent finalities, quartially [quartiellement] instituted. The artist of philo-fiction that refers to the photo, to the painting, or to music, knows how to stop at this insurrectional and creative plane of art, creative precisely because its most dominant finalities are taken out of play. Generic and quantic writing implies that ecstatic depth itsdfis overridden like the relief on. a photo. As
unparalleled in its brilliance, perhaps too absolute in its aesthetics, because it does not take into account a complete and non-sufficient analysis of philosophy. For example, a knowledge without concept, a finality without end, a disinterested pleasure, etc. Each time in reality one needs a complementaty residue of pleasure, of the concept, of the end, bur at the level of the clone or objective appearance provided by waves of lived [vecu] experience or jouissance (and not merely from pleasure
photo is a standard art, which is to say, in the sufficient custody of the world as with all art, a technologically based art of mimesis. Only the generic and quantic orientation allows us to pass from a standard art to a non-standard art and in return to interpret the model by the theory. THE TWO REALISMS Thus not everything of the world is deconstructed of the world within the positive and concrete photo. The matrix makes it clear that the photograph itself remains a philosophically
inversion and rectification. It forms an imaginary or complex identity which is fiction as clone and which will be aleatory and ontologically probable. Photo-fiction nevertheless gives off a certain resemblance with philosophy (its own personal "world"), photo-fiction and philosophy have a common structure from which our objective appearances reconstitute themselves and are immediately poured. into the in-itself or make us believe (make believe4). The generic is a quartial genesis of the clone or
too quick and too general, simply creating an art of the expression of thought by the support of a given art functioning as a material and model. The general specifics of a generic art is to be, like philosophy and aesthetics, necessarily an art expressed by means of linguistic symbols but distinct from literature and poetry from which it may borrow certain means. Finally, art-fiction demands to be understood precisely in its complexity. It is irreducible to the fiction contained in all art and