Aesthetics of Matters of Fact

From Critical Practice Chelsea
Revision as of 11:27, 22 October 2008 by Marsha (Talk | contribs)

Jump to: navigation, search

From Latour, Bruno. "The Aesthetics of Matters of Concern." 97 - Spinoza Lectures: Second Lecture on Empiricism. October 21, 2008).

I want to say that [Jeff Wall's Adrian Walter, Artist, Drawing From a Specimen in the Laboratory in the Dept. of Anatomy at the University of British Columbia, Vancouver (1992)] summarizes the whole aesthetics of matters of fact as it has emerged around the 16th century in a close and complex association between artists, scientists, theologians and their various patrons. One could objects to this point: how could matters of fact depend on any sort of aesthetic? Matters of fact are matters of fact and if there is something that escapes any staging, any artificial trick, any mediation it is exactly that: the God-dammit solid matter of fact beyond any human intention: "It is there whether you like it or not"! (And here it would do a lot of good to brang on the lectern with a gesture of fist). But the splendid beauty - not to say the subtle irony - of Jeff Wall's print tells the exactly opposite story: there is nothing more amazingly artificial, more carefully staged, more historically coded than meeting a matter of fact face-to-face. (p.18)

Return to Critical Practice Lexicon

Return to Practice Literature

Return to Main Page

return to Practice Literature


Marsha: Interestingly in this article, Latour goes on to say that an aesthetics of matters of fact cannot possibly be a description of what scientists do. This is because it could never capture all their movements as they go about their business, their experience.