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Les immatériaux

非物质

La réalité, le matériau, les matériels, les matrices du sens, et qui en est l’auteur ?

展览 Les Immatériaux 涉及后现代信息社会非物质的论说，它关乎哲学和艺术，并试图唤醒一种已经存在的敏感性，随着一条路径，人们将在其中找到生物遗传学和造型艺术、建筑和天体物理学、音乐和食品、物理和服装、栖息地和摄影、工业和法律等等跨领域间的感知与思考。信息社会非物质知识将是人们深入各领域、对社会文化空间中的差异与多样性加深理解的知识，是当下的我们仍需探索的命题。

Design by Luc Maillet, Grafibus, 1985.

Exhibition held at Centre Georges Pompidou in Paris on 28 March - 15 July 1985.

Curated by Jean-François Lyotard and Thierry Chaput.

展览于1985年 3 月 28 日至 7 月 15 日在巴黎乔治蓬皮杜中心举行。

由让-弗朗索瓦·利奥塔和蒂埃里·查普特策划。

View of “Les Immatériaux”

展览现场

“Les Immatériaux”，巴黎蓬皮杜中心，1985 年。

所有图片均由巴黎蓬皮杜中心 - MnamCci - Bibliothèque Kandinsky 提供。

View of “Les Immatériaux”, Centre Pompidou, Paris, 1985.

All images courtesy of Centre Pompidou - MnamCci - Bibliothèque Kandinsky, Paris.

Les Immatériaux: A Conversation with Jean-François Lyotard. with Bernard Blistène

非物质：

让-弗朗索瓦·利奥塔和伯纳德·布里斯泰纳的对话

From the journal: Flash Art, #121, March 1985 Jean François Lyotard is organising the exhibition “Les Immatériaux”, which will be held at Centre Pompidou in Paris in March. Bernard Blistène has asked the French philosopher about the concepts underlying the show.

原载于《Flash Art》121期，1985年三月。

让-弗朗索瓦·利奥塔策划的《非物质》(Les Immatériaux)展览将于三月开幕，伯纳德·布里斯泰纳就此与他进行了一些对话。

Les_Immateriaux - Catalogue, Vol. 2: Album et Inventaire.

非物质展览画册内页

Bernard Blistène：和我们聊聊你策划的这场展览？

Jean-François Lyotard： "非物质"(immaterial/non-materials)的策展概念在最初与现下不同，我当时被要求用另一个主题策划这场展览，它原本可以说是《新物质与创造》(Nouveaux Matériaux et Creation)。但后来我稍微转换了主题，并试图赋予它一个不同的框架。我问自己，"创造力？它应该是什么意思？"以及"所谓的‘新’又是什么意思？"思考当下的"物质"，我在想"这对一位建筑师或一位实业家意味着什么？"由此我得出一个结论，所有这些词汇的含义都发生了相当大的转变，而对这一问题必须从一个与此前不同的角度去看待。

The idea of “immaterials” or “non-materials” was a little bit different at first, since I’d been asked to do the exhibition under a different title. It was supposed to be called “Nouveaux Matériaux et Creation” - New Materials and Creativity. But then I slightly shifted the subject by trying to give it a somewhat different range; I said to myself, “Creativity? What is that supposed to mean?” And again, “What is ‘new’ supposed to mean?” Thinking about “materials”today, I thought, “But what does that imply for an architect, or for an industrialist?” I came to the conclusion that all of these words have undergone considerable shifts in meaning, and I thought that the question had to be approached from a different point of view.

请滑动阅读

Les_Immateriaux - Catalogue, Vol. 2: Album et Inventaire.

非物质展览画册内页

Bernard Blistène：是否可以说你企图为科学性思考和艺术性思考这两种方式建立起某种联系？

Jean-François Lyotard：毫无疑问。艺术创作是一个来自于浪漫主义美学和天才美学的概念。我相信你也会同意，艺术家作为“创造者”，可以说在当今世界已难以为继，受到严格的限制。我们不再关心与它随之而来的主观的天才及"灵晕"(aura)的哲学问题。从杜尚开始，我们进入到一个拼贴的领域，从这方面，你可以把他看作一个"空闲时间的发明家"(inventeur du temps gratuit)。

Undoubtedly. The idea of artistic creation is a notion that comes from the aesthetics of romanticism, the aesthetics of the idea of genius. And I’m sure you’ll agree that the idea of the artist as “creator” is, to say the least, of strictly limited utility in our world today. That’s no longer where we really are. We’re no longer concerned with the philosophy of subjective genius and all the “aura” that goes along with it. With Duchamp, we already find ourselves in an area that has an aspect of bricolage, there’s that side where you think of him as an “inventeur du temps gratuit”.

Les_Immateriaux - Catalogue, Vol. 2: Album et Inventaire.

非物质展览画册内页

Bernard Blistène：除了你想探究的书本以外的知识模式，在我看来，你想实现的展览的概念本身便试图借助所有人文科学，并重新运用这些学科所告诉我们的一切:诸如语言学，科学，人类学，精神分析法等等。

Jean-François Lyotard：的确是这样。正如你所说的，我们尝试去重新运用整个这一系列的事物，并试图从一个哲学的角度去看待它们所提出的问题，我们会从与人文科学或者说文科(liberal arts)通常所假设的而不同的语境来观察，这一语境是人类(Human Being)。在我看来，这些科技有趣又令人不安，它们迫使我们去重新思考人类与宇宙的关系，与自身的关系，与传统的目的、已知的能力及身份的关系。

That’s quite right. Our attempt, as you’ve put it, is to reappropriate a whole series of things and to try to see the problems they pose from a philosophical point of view; we’ll look at them within a context where they don’t begin by positing what the human sciences or liberal arts always begin by positing, which is to say, the Human Being. It seems to me that these technologies are interesting, and at the same time troubling, to the extent that they force us to reconsider the position of the human being in relation to the universe, in relationship to himself, in relationship to his traditional purposes, his recognised abilities, his identity.

Les_Immateriaux - Catalogue, Vol. 2: Album et Inventaire.

非物质展览画册内页

Bernard Blistène：这是否就是你所说的"整体互动"(general interaction)?

Jean-François Lyotard：正是这个意思，这也是展览的两大主题之一。这是第一个主题，我将其视为整个后现代论述的一个基础，而这是法国人还不太了解的主题，因为他们只关心自己。尽管后现代的范畴相当广阔，尽管这个词有时被用来形容截然相反的事物，但后现代在根本上仍基于对现代(Modern Era)的认知，这个现代从启蒙运动时期开始，现在已经走到了尽头；这个现代根基于进步的概念，基于知识、艺术、科技和人类自由等知识的进步之上，以此走向一个真正解放的社会:一个从贫穷、专制和无知中解放出来的社会。但我们可以看到的是，发展仍在继续，但没有实现任何解放的梦想。于是今天，不再有人因无知而感到羞愧。

Yes, that’s what that means, and it will be one of the two major themes of the exhibition. It’s the first theme, and I see it as the basis of the entire discussion of the postmodern, which is a subject the French don’t yet know very well, since they’re always turned so completely in upon themselves. Even though the field of the postmodern is very very vast, and even though the word can sometimes be applied to things that are diametrically opposed to one another, it’s based fundamentally upon the perception of the existence of a Modern Era that dates from the time of the Enlightenment and that has now run its course; and this modern era was predicated on a notion of progress in knowledge, in the arts, in technology, and in human freedom as well, all of which was thought of as leading to a truly emancipated society: a society emancipated from poverty, despotism, and ignorance. But all of us can see that development continues to take place without leading to the realisation of any of these dreams of emancipation. So, today, one no longer feels guilty about being ignorant.

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Les_Immateriaux - Catalogue, Vol. 2: Album et Inventaire.

非物质展览画册内页

Bernard Blistène：让我们回到你的展览《非物质》，聊聊其背后的概念。

Jean-François Lyotard：我们任意但其实非常刻意地创造了一种过滤机制，因为要展出的东西过多，我们首要担忧的便是如何去处理它们。我们从没想过做一个博览会(universal exhibition)。博览会式的展览已不再具有可能性，这不仅仅是展览预算问题。那我们的选择标准是什么呢？有三个不同的层面。首先，我们想要展出那些能激发不确定感的事物:对这些发展的最终目的的不确定性，对人类个体在这种不可能的非物质状态下的身份的不确定性。这个选择标准关乎展览的哲学性。其次我们也必须关注展览本身在时间和空间上的安排。我们对此有两条原则:不用没必要的造型和基座。我们不想呈现一个类似画廊或沙龙式的展览，我的意思是那类似于为国王所设计的大皇宫中的房间布置。我们想避免这种直接定义事物的方式，必须为空间的组织找到一套更流动的和非物质的系统。

We arbitrarily and quite purposely created a kind of filter, since there were so many things to exhibit that our very first worry was about how to go about dealing with it all. There was never any pretense of doing some sort of universal exhibition. Universal exhibitions are no longer possible, and that’s more than just a question of budgeting. And so what were our criteria of selection? They were on three different levels. First of all, we wanted to exhibit things that inspire a feeling of incertitude: incertitude about the finalities of these developments and incertitude about the identity of the human individual in his condition of such improbable immateriality. That’s a criterion of selection that’s concerned with the philosophical stakes of the exhibition. Then we obviously had to give attention to the arrangement of the show in terms of time and space. And here we appealed to two principles: no fancy mouldings and no pedestals. We didn’t want still another re-evocation of a gallery or a salon, by which I mean an arrangement of rooms in a royal palace as designed by the king. We wanted to avoid this way of squarely defining things and we had to discover a more fluid and immaterial system for the organization of space.

请滑动阅读

Les_Immateriaux - Catalogue, Vol. 2: Album et Inventaire.

非物质展览画册内页

Bernard Blistène：最后，你认为什么是"后现代主义"？

Jean-François Lyotard：事实上，我的工作，便旨在找出它是什么，但我仍不知道。这在目前仅是一个讨论，仅处于讨论的开端。正如同启蒙运动时期一样:讨论将在得出结论之前被抛弃。

My work, in fact, is directed to finding out what that is, but I still don’t know. This is a discussion really, that’s only just beginning. It’s the way it was for the Age of Enlightenment: the discussion will be abandoned before it ever reaches a conclusion.

30 Years after Les Immatériaux: Art, Science, and Theory

Les Immatériaux 30 年后：艺术、科学与理论

Edited by Yuk Hui and Andreas Broeckmann.

1985 年，法国哲学家让-弗朗索瓦·利奥塔 (Jean-François Lyotard) 在巴黎蓬皮杜中心策划了一场名为 Les Immatériaux 的开创性展览。该展览展示了技术如何开始影响生活的方方面面。同时，这也是利奥塔所说的后现代状态的一次物质展示。

这本书收录了让-弗朗索瓦·利奥塔 (Jean-François Lyotard) 之前未发表的关于 Les Immatériaux 的概念及其与后现代性的关系的报告。回顾展览的历史意义，他的文本引发了十二个当代沉思。哲学家、艺术史家和艺术家们试图分析媒体和理论史上的这一重要时刻，并反思过去 30 年来数字技术带来的新物质条件。

本书由Daniel Birnbaum、Jean-Louis Boissier、Andreas Broeckmann、Thierry Dufrêne、Francesca Gallo、Charlie Gere、Antony Hudek、Yuk Hui、Jean-François Lyotard、Robin Mackay、Anne Elisabeth Sejten、Bernard Stiegler 和 Sven-Olov Wallenstein等作者撰写。

*参考资料：

1.https://www.centrepompidou.fr/en/program/calendar/event/cRyd8q

2."30 YEARS AFTER LES IMMATÉRIAUX: ART, SCIENCE, AND THEORY"

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