- Hardcover: 168 pages
- Publisher: Papadakis Dist A C (Aug. 15 2014)
- Language: English
- ISBN-10: 190650640X
- ISBN-13: 978-1906506407
- Product Dimensions: 21.6 x 2 x 27 cm
- Shipping Weight: 980 g
- Average Customer Review: Be the first to review this item
- Amazon Bestsellers Rank: #98,117 in Books (See Top 100 in Books)
The Empire of Non-Sense: Art in the TecHnological Society Hardcover – Aug 15 2014
|New from||Used from|
Customers who bought this item also bought
What other items do customers buy after viewing this item?
No Kindle device required. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer.
To get the free app, enter your mobile phone number.
About the Author
Jacques Ellul (1912-1994) was a French sociologist, historian of legal institutions, lay minister, philosopher and educator. In his long scholarly career, Ellul wrote forty books and eight hundred essays. Samir Younes is Professor of Architecture at the University of Notre Dame, U.S.A. His latest book is The Imperfect City: On Architectural Judgment, published in 2013. David Lovekin is Emeritus Professor of Philosophy at Hastings College, U.S.A. He is the author of Technique, Discourse, and Consciousness: An Introduction to the Philosophy of Jacques Ellul.
|5 star (0%)|
|4 star (0%)|
|3 star (0%)|
|2 star (0%)|
|1 star (0%)|
Most helpful customer reviews on Amazon.com
This book extends Ellul's analysis of technique as a mentality begun in his "The Technological Society," "Propaganda," and "The Political Illusion." Technique is revealed as a way of viewing, acting, and being in the world that reduces all to a mathematics-like method in the pursuit of an absolute efficiency that, ironically, changes from moment to moment, and yet claims to reach for the "one best way." In the "Empire" Ellul shows how technique has co-opted the major trends of art in the sixties and seventies. Again, ironically, art typically adopts an anti-art manifesto that is at once part of the bourgeois ideology and yet, at the same time, an elitist art for art's sake posture as it embraces advanced technology, mathematical precision and abstraction, and conceptual bias. Hence, the critic becomes the ultimate technician, a necessity. Art no longer attempts to present the true and the good in the guise of the beautiful, and typically appears as beyond ordinary understanding and sensibility. Ellul's study is clear but difficult, though worthy of the effort. This work resonates with Tom Wolfe's "The Painted Word," Guy Debord's "The
Society of the Spectacle, and Adorno's "Aesthetic Theory." The introductions are quite helpful in placing this study within the context of Ellul's thought.