French sociologist Didier Eribon, beloved student of Foucalt, is perhaps one of the last intellectuals, but only chronologically, to approach the relationship between autobiography and vision/interpretation of the world (Weltanschauung). In his recent book ”Retour à Reims” (2009), between the novel and the essay he writes that despite having lived a long process of intellectual, sentimental and geographical liberation from his humble origins, the French ”working class” in the suburbs of Reims remained within him - intellectually - as expression of his real life, of what he has done, seen, heard, attended and also rejected. In other words, an experience to be considered an indispensable part of his intellectual training and sentimental education. In telling of the newfound awareness acquired after a long re-processing of his denial (for his origins), Eribon refers to a concept whose most direct expression in the field of art has perhaps been Surrealism (the most “subjective” avant-garde of the entire spectrum of the twentieth century). Our way of re-elaborating the reality affects the way we produce interpretations and representations. In this sense, the work of the intellectual, artist, writer and architect cannot be separated from the experience of the world in which the work is always a re-elaboration. Architecture is a field of the intellectual production where, besides producing thoughts, images are projected (and at times they become more real than reality and become part of the collective heritage) and it is therefore more interesting to investigate their provenance.

The images for architects

Christiano Lepratti
2017-01-01

Abstract

French sociologist Didier Eribon, beloved student of Foucalt, is perhaps one of the last intellectuals, but only chronologically, to approach the relationship between autobiography and vision/interpretation of the world (Weltanschauung). In his recent book ”Retour à Reims” (2009), between the novel and the essay he writes that despite having lived a long process of intellectual, sentimental and geographical liberation from his humble origins, the French ”working class” in the suburbs of Reims remained within him - intellectually - as expression of his real life, of what he has done, seen, heard, attended and also rejected. In other words, an experience to be considered an indispensable part of his intellectual training and sentimental education. In telling of the newfound awareness acquired after a long re-processing of his denial (for his origins), Eribon refers to a concept whose most direct expression in the field of art has perhaps been Surrealism (the most “subjective” avant-garde of the entire spectrum of the twentieth century). Our way of re-elaborating the reality affects the way we produce interpretations and representations. In this sense, the work of the intellectual, artist, writer and architect cannot be separated from the experience of the world in which the work is always a re-elaboration. Architecture is a field of the intellectual production where, besides producing thoughts, images are projected (and at times they become more real than reality and become part of the collective heritage) and it is therefore more interesting to investigate their provenance.
2017
978-88-6984-109-5
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11567/884849
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