For a long time, social reality was mostly explained by political means. However, in the aftermath, freed from authority, industrialization and capitalism became essential for social formation.


The chaos which is a result of crisis and diffusion of today’s social paradigm, the wars which is designed by the global markets, and the destructive violence that refuses social tuning and evolves into a global threat while on one end pushed us under the hegemony of markets by fueling us with new anxieties and competition, on the other left societies (ethnic composition) with an identity obsession.


Whereas while these concepts that were born in the nineties were promising; today’s problem of spectacle in our globalizing social life, is forcing us back under the shields of “being congeneric”. Transformed into the prison of the body both at subjective and social levels, the problem of spectacle is pressured by the authority upon humans to accept the sovereign by introversion. This makes the right of being an individual a problematic issue. Against these “identity contractions”, how will individuals construct their self-conscious and put themselves out there? Without being a subject freedom cannot exist and without self-conscious freedom cannot be protected.


Therefore, in order to recover today’s paradigm, which is shaping our social life from the state of crisis, we should re-structure the individuals, who are corrupted with identity obsessions, melted in homogeneity and standardized with global consumption culture, with a consciousness of subject.


The subject becomes when it structures itself as a free and complete entity. This relies on the individual’s ability to pave its way in social life and advance. This does not rely on the search for harmony between differences but, each and every time, on the ability to restructure itself as a subject by rendering a series of state and events into a personal story or design while transitioning from one state of difference to another. In other words, this enables the subject to become the actor of it’s own existence from without imposition. The matter is not to be the other but to be someone else: the idea of subject not being impaired with identity obsession.


In this case, we should discuss the end of the social one. Hereafter our current status involves transitioning from one paradigm to another, that is from social to a cultural language about common life. Ergo the ways of enhancing the harmony between basic principals of modernity and the variety of ways of intervening to personal lives of cultures becomes crucial. From now onward individuals as subjects should overreach all differences and amass within the framework of global issues and start talking about a vision of another world.


The perception of “another world,” which emerges as the “post-social,” pulls us from the introversion from identity obsession, which emerges in confined spaces of homogeneity, and puts us into a universe, which every time restructures itself by constantly evolving, changing and fragmenting.


Globalization, which is defined as “another world” by French social scientist Alain Touraine, transforms the individual from a non-evolving being into a constantly evolving, changing and fragmenting dynamic one. If we are to talk about an identity then it is a dynamic-synthesis one, which emerges as heterogeneity of hybridity, constantly evolving, changing, and fragmenting. Speed, motion, change and fragmentation pulls us from the protective shields of homogeneity and sucks us into the vortex of globalization which governs suspect and eeriness.


This throws creative actors, such as artists and designers, from self-confidence of being “unique” to “autonomy” of rootlessness. The essential problem of artists and designers is to establish their own path-context in this vortex of globalization. The art and design’s part is to develop strategies that will identify what the main emphasis will be and determine the ways of transforming the principal concepts that identifies the subject in today’s world.


The concepts that form the main theme of these strategies, are not only to reveal the relation between the aesthetic and the contemporary, but also to prompt the reality of art directly as political and cultural.

Symposium is comprised of two sections “Regressive World: Disengagement/Anti Aesthetic” and “New Paradigm: Return Itself/Oneself Multiple Aesthetic Experiments


REGRESSIVE WORLD: Disengagement / Anti Aesthetic




Distruption: Devastation


Rise of Minor Egos


Temporality: Speed, Movement and Fragmentation


Fiction of Reality


Crisis of Congenerics: Problems of Spectacle


Rhetoric of Oponent


NEW PARADIGM: Return Itself/Oneself Multiple Aesthetic  Experiments




Common Life: Cultural Other


Transition from a Social Language to Cultural Language


Difference-Compliance: Rise of Hybrid Ego


Technical Reproduceability-Anonimity


New Strategies: Entry to Post Social Paradigm


New Paradigm and Utopia 4.0