A riddle or a joke? I regret having made light of both myself and the reader. However, the concept of complexity has been explored with such intensity and pedantry, has been analyzed from so many points of view – the mathematical, linguistic, physical, chemical, political, psychological, sociological, physiological, algorithmic, logical, religious, and metaphysical – that nothing, not even the title of this piece, can escape it. Indeed the situation has reached the point where we grow misty-eyed over the very thought of the discrete charms of yesterday's simplicity. Sometimes we dream that complexity itself, after having given us so much, muses – now that its task is fulfilled – of flying up miraculously into the sky, like the Virgin Mother (the Assumption); or ourselves wish to experience – for those spirits who prefer to keep their feet on the ground(!) – the “dissolution” with which entropy begins. Isn't it true that certain words, marked by the spirit of their age, are themselves in fact carried away by the spirit of the age?

Many contemporary writers are claiming that society is becoming rapidly deanimated. However, this idea is not entirely new. During the past century, the same observation has been made by critics as disparate as Durkheim and Marx. In general, they pointed out that as an outgrowth of industrialization, social relationships were beginning to deteriorate. In point of fact, complaints about social fragmentation and the emergence of bureaucracies were commonplace. Simply put, citizens were beginning to feel powerless and overwhelmed by their institutions. Recently, Baudrillard referred to this sentiment as indicative of the “Golden Age of Alienation.”

When the news of the invention of the daguerreotype left the halls of the French Academy of Sciences in 1839, it fell on the ears of an eager and receptive public, spellbound by the miracle of such an invention. The rapid popularization of the daguerreotype, and subsequently, of less time-consuming photographic processes, forced critics and artists alike to vehemently defend a definition of art that either categorically excluded the new medium or open-mindedly included it within the ranks of a modern or industrialized art. If one maintained, as many did, that the nature and essence of art/literature can be clearly defined and that this definition must be grounded in tradition, coming to terms with what photography was and where it rightfully belonged required either a staunch reaffirmation of one's beliefs about aesthetics or a reassessment of those beliefs. In either case, photography functioned as a disruptive element that did not cause but contributed to an (already existing) artistic movement in which the integrity and solidity of aesthetic definitions and orthodoxies were being questioned and tested. In the minds of those apprehensive and suspicious of the new medium, industrialization, as well as political and social change, had already begun to sound the death knell for art as it had traditionally been conceived. If art/literature had become contaminated by industry, technological advancement and democratic principles, the conservative French nineteenth-century thinker saw it as his duty to save the former from certain destruction. “Saving” art/literature required a fundamental reinforcement of the belief in the closure and soundness of aesthetic definitions whose truth tradition had supposedly guaranteed. Uncovering the presuppositions behind aesthetic definitions that claim to speak in the name of tradition, self-evident truths, and even the nature of man is an endeavor worth pursuing because this manner of thinking leads to a kind of tyranny that has as its goal the suppression of questions, critical inquiry and thus, independent thinking. This study seeks to examine a small part of French aesthetic theory during a period in which change, instability and revolution became almost commonplace. The reactions of conservative artists and critics to post 1840s literary and artistic practices will be scrutinized in order to unveil the deep-seated fears and beliefs that found conservative backlashes to that which is referred to as “new” or “progressive.”

It was during the Gulf War that I discovered the gas mask to be an object. As it became increasingly credible and imminent, the unfathomable menace was crucially rescaled to the toxic potency and dispersal pattern of law-abiding molecules. So it went with the gas mask: the Gulf War transformed it from a vaguely morbid mental image into a facial object of survival. But to be drafted on the nation-wide defensive maelstrom as a life-saving object (and not, as it happened, a life-taking one) the real effectiveness of the gas mask was by no means sufficient - it had also to be effectively realized, and this in turn necessitated that confidence in its claimed capacities had to be gained, and competence in its appropriate performance mastered.

What is an image? An image, it might be said, is a kind of amity between the medium and the model it assumes. The purpose of this relationship is to reproduce the model and to become similar to it. Such a definition invites – perhaps in a purely playful way – some preliminary considerations.

There are various ways to describe the type of society that developed, at least in America and Europe, over the last two centuries. One of the better known ones is the civilization of money. Different people, depending on their world view, can judge this fact differently: to deny it, however, is impossible. This is especially obvious now, when the most grandiose and stubborn attempt at liberating society from the power of money – allegedly in order to subordinate money to higher ideals – has ended in total failure.

The purpose of this essay is to show that the issue of “underdevelopment” not only raises one of the most basic and oldest problems of philosophy, namely the relationship between the spiritual and the material, but also helps positively to reformulate it. For, on closer examination, it will appear that the striking aspect of underdevelopment is that it constitutes a glaring symptom of a characteristic disturbance or maladjustment. By its strangeness and distortion, it displays a unique and unexpected tension between the spiritual and the material. Indeed, we cannot discard the possibility that the link between the spiritual and the material is likely to be better exposed in a situation of maladjustment than in one of fusion. Besides, this method of studying tension in order to observe the connection between the mental and the physical is not something new in philosophy. Bergson, Freud, and James, to mention but a few, had recourse to it.