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Setup an account with your affiliations in order to access resources via your University's proxy server Configure custom proxy use this if your affiliation does not provide a proxy. Configure custom resolver. Notes Towards a Manifesto for Metacritical Realism.

Lorenzo Chiesa - unknown. The Humanist as Engineer Manifesto.

Fernando Flores - unknown. Kathi Weeks - - Utopian Studies 24 2 Alain Badiou: Second Manifesto for Philosophy. Contemporary of American pop art , and often conceived as its transposition in France, new realism was, along with Fluxus and other groups, one of the numerous tendencies of the avant-garde in the s.

Nouveau réalisme - Wikipedia

Klein, however, started to distance himself from the group around , disliking Restany's insistence on a Dadaist heritage. This exposition was followed by others: in May at the Gallery J. The movement had difficulty maintaining a cohesive program after the death of Yves Klein in June, and when Omiros abandoned it and decided to go in his own path experimenting with perspective and space. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences.

Learning from Post-Truth

But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public.

They also wanted to avoid what they saw as the traps of figurative art, which was seen as either petty-bourgeois or as Stalinist socialist realism. These possibilities cannot be intellectually deduced, but can only be discovered through interaction with the world. For example, a lemon can be food, but with the rise of electrical technology, through certain metal electrodes zinc and copper , it may also be used as a battery. At the same time it resists being a battery with other metals.

These facts are only discoverable by doing science.

The worldview offered to us by Ferraris is thus one of objects and their environments resisting and affording each other in different ways. While it seems intuitive to think of the natural world in these terms, Ferraris holds that this applies to the social world, too.

Yet here Ferraris encounters a problem: given that he wishes to advance a realist position, he runs into the issue of how to grant the same ontological status to both the social and the natural worlds. Generally, one side is granted reality at the expense of the other. As we saw, by privileging the social world as real, social constructivists as represented by Foukant came to see the natural world as being little more than an exercise in power.

Equally, scientific reductionists hold that if the natural world is real, then the social world must be an illusion.

Nouveau réalisme

For Ferraris, what is required is a way to hold onto the social world as constructed while still maintaining it as a real, causally effective domain. The first two types are mind-independent. If one considers a rock and the number one as a respective instance of each class, for example, it is clear how both objects might continue to persist without any mind contemplating them. It is with the latter two objects that matters become interesting.

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What Ferraris has in mind when he discusses social objects is events such as commemorations, holidays, corporations, TV shows, etc. Such objects are fully mind-dependent and cannot exist without people.


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While at first blush it may seem counter-intuitive to think of social events as objects, Ferraris rightly points out that they causal effect natural objects: a corporation, for example, can determine the flow of raw materials and labour across the globe in a way hitherto unimaginable three hundred years ago. Thus, although it is made up of physical materials, an artefact such as a computer had its genesis as a computer in a specific social context. Ferraris makes it clear that his aim is to show that meaning is located in the environment, and that people are mere receivers of meaning.

Documentality offers an account of how meaning may emerge from merely natural objects. He makes a series of ambitious claims about the extent to which documentality conditions and constitutes the social world.