Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
abstract: concreteness of,
51–55; as destruction,
52; endlessness of,
52–53; endurance of,
55; failure and,
54; minimalism and,
53–54; personal in,
55; replacement objects of,
54; representation of,
51–54; tautology of,
51–52architecture: corporation and,
42; of modernism,
42; parallel histories and,
29–30; technologies and,
29–30artists,
xi; accusations and,
123–24; biography for,
122–23; capitalization and,
117,
119; categorization and,
120; complete curator and,
72; context of,
124–25; control of,
124–25; criticism and,
118–19; deadlines for,
120–21; differentiation and,
124–25; of documentaries,
122,
124; ethics for,
121–22,
126; of exhibitions,
33–34; generation and,
123; immaterial labor of,
118; innovation and,
119; leisure and,
119–20,
124; neoliberalism of,
118; neuroticism of,
117–18; projection of,
125–26; relationships for,
121; research by,
122; society and,
126–28; withdrawal of,
123art pile: accumulation in,
17–18; chains and amoebas in,
17–20; endurance in,
17; feedback loop of,
19–20; nodular subjectivities in,
17; origins of,
18–19; philosophy and,
19–20; split and fragmentation in,
17–20; stress in,
18; supersubjectivity in,
19Austro-Hungarian Empire,
22authority,
127–28; antiquities related to,
25–26; resistance to,
22; scientific research as,
23–25
behaviorism,
44–45,
49; ecoconsciousness and,
43; Skinner and,
41
Caro Diario [
Dear Diary] (film),
127–28
chains and amoebas,
17–20communication,
73–74; group nostalgia and,
112–13; from political consciousness,
22complete curator: arrangements of,
76–77; art fairs and,
75; art market and,
72; curatorial and,
72; description of,
71; dichotomy of,
73; discourse of,
74–76; education and,
73–74; exhibitions of,
74–76; language for,
73–74; potential paradigm and,
72–73; research of,
75–77contemporary art: blindness of,
xiii; challenge of,
x; definition of,
x,
1–2; endurance of,
x; genealogy of,
xii–xiii; lectures on,
xi; philosophy and,
x; resistance of,
xii–xiii; soft revolutions and,
xi–xiii; use of, as term,
x,
1–3contemporary art context: Big Other in,
8,
130n8; categorization in,
5; Chan and,
4,
130n4; contemporary,
4–7,
12; contradictions in,
7–8; displacement in,
11–12; networking in,
7; parallel education in,
5–6; work methods in,
8–11contemporary art meaning,
xiv; academicization in,
3; current art as,
1; differentiation in,
1,
4; generalization in,
2–3; oppositions in,
1–2; questionnaire on,
3,
130n2; specificities in,
2–3contemporary art museums,
69corporation: architecture and,
42; unions and,
43–44
De Gaulle, Charles,
57–58descriptive potential,
14differentiation,
12; anxiety about,
124–25; in contemporary art meaning,
1,
4; in discursive,
81discovery: of technologies,
26–27; of
Venus de Milo,
25discursive, the,
79–80; anxiety in,
81–82,
84; border related to,
87–88; differentiation in,
81; parallel in,
85–86; postwar social democracy and,
105; projection in,
84; redundancy and,
85–86; setting and,
84–85; statements in,
82–83; tension in,
83.
See also experimental factorydisplacement,
44; in contemporary art context,
11–12; projection or,
35–36
education,
6,
44; complete curator and,
73–74; consciousness and,
4–5; 1948 and,
47–491820: government and,
21; parallel histories from,
22–29; revolutions and,
22European Economic Community,
57experimental factory: factory in,
106; globalization and,
108–9; group work in,
105–6,
108; immaterial labor and,
107–8; model of,
108; paradox of,
108–9; postwar Europe in,
105–6; production cycle in,
106–7; redundancy in,
107; relationships in,
105–6
Feminine Mystique, The (Friedan),
59
fragmented and split,
17–20
group nostalgia: anxiety and,
114; communication and,
112–13; globalization and,
111–12; parallel and,
113; postcolonialism and,
113; in production,
112; redundancy and,
113,
115; self-improvement in,
115; self-management in,
114; social class and,
112–13; structure and,
115; time and,
114
historical ontology,
xiii
industrial production,
45industry collectivization,
37institutionalized relativism,
22–23
Matter of Life and Death, A (film),
45–46
Missouri Compromise,
22–23
narratives, parallel,
xivnews cycle, twenty-four-hour,
94–951948: behaviorism in,
41,
43–45,
49; brain in,
46; collective bargaining in,
37–38,
44–45; democracy in,
44–45; ecoconsciousness in,
43–44; education and,
47–49; European nationalization and,
37; exhibitions and,
47–49; location in,
46; modernism in,
41–42; singularization in,
38–39; society in,
42–43; specialization in,
39–40; studio in,
48,
50; symbolization in,
39–40; technologies in,
39–41; utopia in,
41–421963: abstraction in,
65; biography in,
66–67; clone in,
61; conspiracy in,
64–65; contemporary art museums in,
69; counterculture in,
63–64; curators in,
66; destruction in,
68; embodied awarenesses in,
66; entrepreneurs in,
59–60; exhibitions in,
67; films in,
67–68; genealogy from,
65; government in,
63–64; group identity in,
62; identity theories in,
59; Lamborghini in,
59–60; medical technology in,
61; political unions in,
57–58; populism in,
68; presented self in,
62; projection and scenario in,
62–63; pseudoautonomy in,
64–65; repetition in,
66; self-awareness and,
60; supercollectors in,
68–69; surveillance in,
64; time in,
62–63,
65; video in,
671974: aging and,
98; barcodes in,
92; capital and,
98; curators of,
103–4; distance in,
101; eco-choice in,
94–95; endurance in,
99–100; gatekeepers from,
104; health in,
93; identity in,
96; limits in,
101; misreadings in,
103; neoliberalism in,
97; pocket calculator and,
92–93,
95; postwar in,
91–92,
95; recuperation and reiteration in,
102; revolutions and,
95–96; self-management and,
97–98; skepticism in,
100; speed in,
103–4; technology and,
96–97,
101; tension in,
99; time in,
93–95; tradition in,
100; twenty-four-hour news cycle in,
94–95nodular subjectivities,
17
Of Human Bondage (film),
ix–x
paradigm, potential,
72–73parallel: in discursive,
85–86; group nostalgia and,
113; in projection,
15–16parallel histories,
22–27; architecture and,
29–30; industrialization and,
30; religion and,
31; rights and,
29–30; secondary individuals with,
29–30,
34; tension in,
28–30.
See also controlparallel structures,
31–32political consciousness,
7,
13,
22production: demonstration of,
32; films about,
112–13; scientific research and,
28projection,
12,
46–47,
84; of artists,
125–26; ASAP futures and,
35–36; collectivity and,
15; context in,
16; descriptive potential and,
14; displacement or,
35–36; economics related to,
13; ecopolitics and,
13; incompletion and,
14–15; parallel in,
15–16; scenario and,
62–63; simultaneous realities in,
15–16; speculation and,
13–14,
36; supersubjectivity and,
15
realities, simultaneous,
15–16redundancy,
126; discursive and,
85–86; in experimental factory,
107; group nostalgia and,
113,
115relationships,
121; in experimental factory,
105–6Royal College of Art (London),
73
scientific research: as authority,
23–25;
Beagle for,
23–24; belief and,
24–25; control from,
23–24; production and,
28Scottish Insurrection,
27–28Sengupta, Shuddhabrata,
10simultaneous realities,
15–16social class: control and,
27–28; group nostalgia and,
112–13society: artists and,
126–28; in 1948,
42–43; subjectivity and,
48supersubjectivity,
15,
19
technologies,
xiv,
92–93,
95; architecture and,
29–30; clone as,
61; computers in,
63–64; containers in,
40; discovery of,
26–27; of exhibitions,
32–33; from military,
40–41; in 1948,
39–41; 1974 and,
96–97,
101; patents for,
26–27; records in,
40tensions,
18,
21; antiquities and,
25–26,
30–31; in discursive,
83; in 1974,
99; in parallel histories,
28–30; of parallel structures,
31–32twenty-four-hour news cycle,
94–95
With the Blood of Others (film),
113
work methods: accommodation in,
8–9; audience in,
9–10; biography and,
10–11; drive in,
10; flow in,
10–11; nostalgia in,
9; self-referral in,
11; subjectivity and,
11–12