Reset Modernity!

Texts and images document the disconnection between modernity and ecological crisis: do we need to reset modernity's operating system?Modernity has had so many meanings and tries to combine so many contradictory sets of attitudes and values that it has become impossible to use it to define the future. It has ended up crashing like an overloaded computer. Hence the idea is that modernity might need a sort of reset. Not a clean break, not a tabula rasa, not another iconoclastic gesture, but rather a restart of the complicated programs that have been accumulated, over the course of history, in what is often called the modernist project. This operation has become all the more urgent now that the ecological mutation is forcing us to reorient ourselves toward an experience of the material world for which we don't seem to have good recording devices.
Reset Modernity! is organized around six procedures that might induce the readers to reset some of those instruments. Once this reset has been completed, readers might be better prepared for a series of new encounters with other cultures. After having been thrown into the modernist maelstrom, those cultures have difficulties that are just as grave as ours in orienting themselves within the notion of modernity. It is not impossible that the course of those encounters might be altered after modernizers have reset their own way of recording their experience of the world.
At the intersection of art, philosophy, and anthropology, Reset Modernity! has assembled close to sixty authors, most of whom have participated, in one way or another, in the Inquiry into Modes of Existence initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions Iconoclash and Making Things Public, this book documents and completes what could be called a thought exhibition: Reset Modernity! held at ZKM | Center for Art and Media Karlsruhe from April to August 2016. Like the two others, this book, generously illustrated, includes contributions, excerpts, and works from many authors and artists.
Contributors
Jamie Allen, Terence Blake, Johannes Bruder, Dipesh Chakrabarty, Philip Conway, Michael Cuntz, Eduardo Viveiros de Castro, Didier Debaise, Gerard de Vries, Philippe Descola, Vinciane Despret, Jean-Michel Frodon, Martin Giraudeau, Sylvain Gouraud, Lesley Green, Martin Guinard-Terrin, Clive Hamilton, Graham Harman, Antoine Hennion, Andrés Jaque, Pablo Jensen, Bruno Karsenti, Sara Keel, Oleg Kharkhordin, Joseph Leo Koerner, Eduardo Kohn, Bruno Latour, Christophe Leclercq, Vincent-Antonin Lépinay, James Lovelock, Patrice Maniglier, Claudia Mareis, Claude Marzotto, Kyle McGee, Lorenza Mondada, Pierre Montebello, Stephen Muecke, Cyril Neyrat, Cormac O'Keeffe, Hans Ulrich Obrist, P3G, John Palmesino, Nicolas Prignot, Donato Ricci, Ann-Sofi Rönnskog, Maia Sambonet, Henning Schmidgen, Isabelle Stengers, Hanna Svensson, Thomas Thwaites, Nynke van Schepen, Consuelo Vásquez, Peter Weibel, Richard White, Aline Wiame, Jan Zalasiewicz
Exhibition
April 10, 2016 August 21, 2016
ZKM | Center for Art and Media Karlsruhe
Edited by Bruno Latour with Christophe Leclerc
Copublished with ZKM | Center for Art and Media, Karlsruhe

Info autore

Bruno Latour wurde 1947 im der burgundischen Kleinstadt Beaune als Sohn einer Winzerfamilie geboren. Nach einem Studium der Philosophie und Anthropologie promovierte er 1975 an der Universität Tours. 1979 veröffentlichte Latour zusammen mit dem britischen Soziologen Steve Woolgar Laboratory Life, das Ergebnis seiner Feldstudien im Labor des späteren Nobelpreisträgers Roger Guillemin. Dabei konnte Latour aufzeigen, welche Rollen rhetorische Strategien und technische Artefakte bei der "Konstruktion wissenschaftlicher Tatsachen" spielen. Mit dem 1987 erschienenen Science in Action weitete Bruno Latour diese zunächst sozialkonstruktivistische Argumentation auf das Gebiet der Technik aus. Er entwickelte zusammen mit anderen Soziologen, vor allem Michel Callon und John Law, die Akteur-Netzwerk-Theorie, die über den Sozialkonstruktivismus hinausgeht. Anders als dieser geht die Akteur-Netzwerk-Theorie nicht davon aus, dass Technik und Wirklichkeit sozial konstruiert sind. Vielmehr wird davon ausgegangen, dass Technik/Natur und das Soziale sich in einem Netzwerk wechselseitig Eigenschaften und Handlungspotentiale zuschreiben. Latour entwickelte später auf Basis dieser Überlegungen mit "Wir sind nie modern gewesen" und "Das Parlament der Dinge" eine Kritik der "modernen" Gesellschaft. 1987 erfolgte die Habilitation an der Ecole des Hautes Etudes en Sciences Sociales. In den Science Wars der 90er Jahre wurde Latour unter anderem von Alan Sokal heftig kritisiert. In "Die Hoffnung der Pandora" setzte sich Latour mit dieser Kritik auseinander. 1982 wurde er Professor für Soziologie an der Ecole Nationale Supérieure des Mines in Paris. Neben seiner wissenschaftlichen Tätigkeit im engeren Sinne kuratierte er zusammen mit Peter Weibel die Ausstellungen Iconoclash (2002) und Making Things Public (2005) am Karlsruher Zentrum für Kunst und Medientechnologie. 2008 wurde Bruno Latour mit dem "Siegfried Unseld Preis" ausgezeichnet im Jahr 2013 erhielt er den "Holberg Prize".

Riassunto

Texts and images document the disconnection between modernity and ecological crisis: do we need to reset modernity's operating system?Modernity has had so many meanings and tries to combine so many contradictory sets of attitudes and values that it has become impossible to use it to define the future. It has ended up crashing like an overloaded computer. Hence the idea is that modernity might need a sort of reset. Not a clean break, not a “tabula rasa,” not another iconoclastic gesture, but rather a restart of the complicated programs that have been accumulated, over the course of history, in what is often called the “modernist project.” This operation has become all the more urgent now that the ecological mutation is forcing us to reorient ourselves toward an experience of the material world for which we don't seem to have good recording devices.
Reset Modernity! is organized around six procedures that might induce the readers to reset some of those instruments. Once this reset has been completed, readers might be better prepared for a series of new encounters with other cultures. After having been thrown into the modernist maelstrom, those cultures have difficulties that are just as grave as ours in orienting themselves within the notion of modernity. It is not impossible that the course of those encounters might be altered after modernizers have reset their own way of recording their experience of the world.
At the intersection of art, philosophy, and anthropology, Reset Modernity! has assembled close to sixty authors, most of whom have participated, in one way or another, in the Inquiry into Modes of Existence initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions Iconoclash and Making Things Public, this book documents and completes what could be called a “thought exhibition:” Reset Modernity! held at ZKM | Center for Art and Media Karlsruhe from April to August 2016. Like the two others, this book, generously illustrated, includes contributions, excerpts, and works from many authors and artists.
Contributors
Jamie Allen, Terence Blake, Johannes Bruder, Dipesh Chakrabarty, Philip Conway, Michael Cuntz, Eduardo Viveiros de Castro, Didier Debaise, Gerard de Vries, Philippe Descola, Vinciane Despret, Jean-Michel Frodon, Martin Giraudeau, Sylvain Gouraud, Lesley Green, Martin Guinard-Terrin, Clive Hamilton, Graham Harman, Antoine Hennion, Andrés Jaque, Pablo Jensen, Bruno Karsenti, Sara Keel, Oleg Kharkhordin, Joseph Leo Koerner, Eduardo Kohn, Bruno Latour, Christophe Leclercq, Vincent-Antonin Lépinay, James Lovelock, Patrice Maniglier, Claudia Mareis, Claude Marzotto, Kyle McGee, Lorenza Mondada, Pierre Montebello, Stephen Muecke, Cyril Neyrat, Cormac O'Keeffe, Hans Ulrich Obrist, P3G, John Palmesino, Nicolas Prignot, Donato Ricci, Ann-Sofi Rönnskog, Maia Sambonet, Henning Schmidgen, Isabelle Stengers, Hanna Svensson, Thomas Thwaites, Nynke van Schepen, Consuelo Vásquez, Peter Weibel, Richard White, Aline Wiame, Jan Zalasiewicz
Exhibition
April 10, 2016–August 21, 2016
ZKM | Center for Art and Media Karlsruhe
Edited by Bruno Latour with Christophe Leclerc
Copublished with ZKM | Center for Art and Media, Karlsruhe

Dettagli sul prodotto

• Autori: Bruno Latour, Bruno (Director Latour, Christophe LeClercq
• Con la collaborazione di: Bruno Latour (Editore), Bruno (Director Latour (Editore), Latour Bruno (Editore), Christophe LeClercq (Editore)
• Editore: The MIT Press
• Lingue: Inglese
• Formato: Copertina rigida
• Pubblicazione: 27.05.2016
• EAN: 9780262034593
• ISBN: 978-0-262-03459-3
• Pagine: 432
• Dimensioni: 181 mm x 251 mm x 44 mm
• Serie: Reset Modernity!; The MIT Press; The MIT Press
• Categorie: Scienze sociali, diritto, economia; Scienze umane, arte, musica > Arte > Arte figurativa; PHILOSOPHY / History & Surveys / Modern, ART / History / General, ART / Collections, Catalogs, Exhibitions / General, Postmodernism, History of Art, Exhibition catalogues & specific collections, Western philosophy from c 1800, Art & Design Styles: Postmodernism, Western Philosophy, From C 1900 -, Exhibition catalogues and specific collections