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Gilbert SimondonBeing and Technology$
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Arne De Boever, Shirley S. Y. Murray, and Jon Roffe

Print publication date: 2013

Print ISBN-13: 9780748677214

Published to Edinburgh Scholarship Online: September 2013

DOI: 10.3366/edinburgh/9780748677214.001.0001

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The Aesthetics of Gilbert Simondon: Anticipation of the Contemporary Aesthetic Experience

The Aesthetics of Gilbert Simondon: Anticipation of the Contemporary Aesthetic Experience

Chapter:
(p.121) Chapter 8 The Aesthetics of Gilbert Simondon: Anticipation of the Contemporary Aesthetic Experience
Source:
Gilbert Simondon
Author(s):

Yves Michaud

Justin Clemens

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748677214.003.0008

Simondon considers aesthetic thought to be an effort to recreate a reticular universe, constituted by privileged places and moments on the ground of the world. In aesthetic thought, one finds a search for magic after the loss of magic. Taking this as his starting point, Simondon develops a natural aesthetic, because the aesthetic derives for Simondon not from the matter of the object but from its inscription into a regime of aesthetic thought. In this sense, each act, each thing, at each moment, can become a noteworthy point of space. Cultures choose these acts not so much positively as negatively, through what they exclude from the aesthetic. Thus, technics begins by disentangling the world from a set of objects, and then it reinscribes these objects aesthetically in nature. Simondon gives a series of passionate analyses on this inscription of the aesthetic object. It is not imitation that characterizes art, but its meaningfulness and saliency, its way of generating exceptional places and points. Simondon therefore defended an aesthetic of the local and of the in situ, an aesthetic of a sensitivity to space and to the moment, of structures grafted onto reality in order to give reality form and signification.

Keywords:   Simondon, aesthetics, inscription

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