The control societies analysed by Deleuze are becoming societies of hyper-control, where supercomputing is applied to massive data sets, with the ultimate goal of controlling behavior. This control, however, is destroying all forms of knowledge-whether skills, capacities or theories-and undermining all social systems, including the economic foundations of consumerism itself. Although this situation can seem unstoppable, transformations of the technical system always have harmful effects on existing social systems, and thus require the invention of new knowledge and practices. Art has a crucial if not sufficient role to play in creating a new therapeutics for the 21st century.Having shown in 1990 that the disciplinary societies analysed by Michel Foucault have become societies of control and modulation-of a control and modulation exerted by the mass media, and especially television-Gilles Deleuze, in a dialogue with Serge Daney, hypothesized about the possibility of an "art of control."Given that digital technologies, in particular after the exposure of the immense problems posed by "big data," constitute an age of hyper-control-in societies that have become hyper-industrial (rather than post-industrial)-is an art of hyper-control either conceivable or desirable?The hyper-industrial societies that have grown out of the ruins of the industrial democracies constitute the third stage of completed proletarianization: After the loss of savoir-faire in the 19th century with industrial machinism, and then the loss of savoir-vivre in the 20th century via the mass media, in the 21st century comes the loss of savoirs théoriques, of theoretical knowledge, via high-performance computing and correlational analysis. With the total automatization made possible by digital technology, theories, those most sublime fruits of idealization and identification, are deemed obsolete-and along with them, scientific method itself.

L’œuvre Telegeneric realities de l’artiste et théoricien Kenneth Feinstein s’attache à une période historique qui va de la fin du XXe au début du XXIe siècle et à des événements étendus sur tout le globe, dont les attentats du 11 septembre 2001 furent le plus choquant et peut-être le plus vu. Examiner le storytelling et la mise en scène de l’information télévisuelle — dont les canaux se diffusent via le réseau mondial qu’est le web — est ici l’objectif de Feinstein. Sa méthode en est la neutralisation des effets ; ses techniques : les collages, montages, superpositions d’images, disparitions d’éléments, ombres, surimpressions. Ces arrêts sur image et leur montage catalysent le temps et l’espace, les remontent et les réagencent, confondant les faits et leurs (f)auteurs, déplaçant le point de vue pour retrouver la conscience, par désynchronisation entre sujets et « objets temporels industriels » (Bernard Stiegler, 1994). La matière informationnelle est ainsi présentée et exposée selon une réécriture et une relecture de l’histoire contemporaine.

Décédé brutalement le 5 août 2020, le philosophe Bernard Stiegler aura eu une activité incessante et acharnée, une vie et une oeuvre intenses et prolifiques, qu’il a transmises à ses contemporains et vers les générations futures. Soucieux d’un monde “non-inhumain,” de ses dits et écrits à ses actions et expérimentations, ses positions et propositions étaient étayées et son acuité en permanence vivace face à “la complexité de ce qui arrive”.

Digital simulation is a process of calculation technologies in the goal of modelling real phenomena and proposing some mimetic or theoretical formalizations of them. The computers interfaces make appear some calculated figures that have been automatically treated by the machine. In the art field, the modelling of the symbolic forms through the computer programming and the calculated simulation seems to be a revolution for the state and the status of the representation. How is it made and where is it situated? By effect how to situate and define it, from real to virtual, from mimetism to abstraction, etc? And what is the nature of this new kind of artifice, produced by the calculation technology?

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