Techno [Paperback]

Jean-Luc Nancy (Author), Michel Maffesoli (Contributor)

Book Description

Publication Date: October 2, 1998

Contributions by Michel Maffesoli. Text by Jean-Luc Nancy.

Product Details

• Paperback: 128 pages
• Publisher: Dis Voir; 6000 edition (October 2, 1998)
• Language: English
• ISBN-10: 2906571768
• ISBN-13: 978-2906571761
• Product Dimensions: 8.5 x 6.5 x 0.3 inches
• Shipping Weight: 11.4 ounces (View shipping rates and policies)
• Average Customer Review: 2.5 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #2,134,129 in Books (See Top 100 in Books)

Customer Reviews

Most Helpful Customer Reviews

9 of 14 people found the following review helpful:

1.0 out of 5 stars mistake. but i can dance to it., March 10, 1999

By A Customer

This review is from: Techno (Paperback)

This book is incorrectly identified as being by Jean-Luc Nancy and Michel Maffesoli, a promising collaboration, but one that only materializes under the patronage of Amazon's data entry staff. It includes interviews with these two, which, as interviews go, are interviewy. The bulk of the book is by MICHEL GAILLOT and is about techno, as in Techno music. As french art critical writing about techno music goes, it is french art critical writing about techno music.

enjoy at a distance.

3 of 7 people found the following review helpful:

4.0 out of 5 stars collective articulations, November 24, 1999

By 

ws (london, england) - See all my reviews

This review is from: Techno (Paperback)

Without in any way proclaiming a theme or message, techno, in its loud silence, seems to imply that the old socio-historic figures of meaning no longer make sense, and consequently can no longer fragment or partition the world according to an ethnic or political score that until now has been divided up into separate and opposed identities.

As can be easily seen in raves, as well in many contemporary artistic practices, art and politics are no longer separate (as if designating heterogenous fields of operations), but are joined in collective articulations, flexible and ephemeral, forming around common sensations.

Such a convergence of the artistic (understood to mean both art and technology) and the political does not neccesarily mean that we have moved toward an aetheticizing of the political (the community as a work of art) or a politicizing of art (a social or critical art).

This indicates perhaps that it still remains for us to concieve an art that is no longer merely a representation of the Ideal, to concieve of technology whose ends are not merely economic imperatives, and a political space not grounded in only one Truth.

This constitutes a program that rests on the possibility of inventing, singularly and collectively, an existence that no longer diverts from its own finality, and from its free deployment within the horizons of worldliness, cross-bred and deterritorialized, offered to us at present. With all due respect to the defenders of the purity of the Ideal, this may well be, for our time and those of us who share it, both our task and our fate.