Photography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.
Maurizio Ferraris is full Professor of Philosophy at the University of Turin, Deputy Rector for Humanities Research and the President of the LabOnt (www.labont.it). He wrote more than fifty books that have been translated into several languages.
Table of contents
From Fountain to Moleskine: the Work of Art in the Age of Its Technological Producibility Maurizio Ferraris Abstract
1 Pen, Pencil, Pen Drive
2 Mona Lisa. The Canon
3 Fountain. The Break
4 Brillo Box. The Reconciliation
5 Moleskine. The Fusion