Abbé Perrin (Director of...
…In reality, we didn’t see it coming … The subterfuge … It started with the fake Rembrandt at Christie’s sometime in the 2020s, and then in public and private museums (Serpentine, Centre Pompidou) which, under the pretext of AI and progressivism had embraced the industrial and cultural strategy of the “fake”.
From by-products to things “in the style of”, plagiarism had glorified technology. Now that technology had become all conquering and the databases sold by Google had replaced reality. Technological excess had ultimately lobotomised individuals, peoples and knowledge.
Towards the end of the century, with global warming, holes in the ozone layer and Nature’s own retribution, people no longer risked going to see a concert, an opera, an exhibition, or a friend….The places frequented by the public had become deserted: the risk was too great of getting caught in a snowstorm in the middle of the summer or of being subjected to a deluge of UV rays… With the water table saturated, the entrances to tunnels, metros and other structures vomited viscous, toxic materials the likes of which Cop 560 had clearly not taken into account in their fabricated forecasts.
You stayed at home watching your Google Inc. screen while Amazon’s drones delivered products labelled “Organic Junk Food” in “home delivery” pods to your roof terrace.
What had been a method of resistance in Japan for adepts of Hikikomori (引き籠も)—those who during the 21st century had shuttered themselves in their homes so as not to sacrifice their bodies and souls to the productivist model of the preceding century—had since been recast as a societal model. Capitalism 4.0 had triumphed, and an each-to-his-own, dog-eat-dog model had usurped the social contracts and the “natural contracts” of a society structured around the common good. The architecture, built with Robot and Jacuzzi, proffered insular, bunkerized urban monads while 10G with its integrated subcutaneous chips served up predictions to foster minimal aspirations. Cookies had become neuronal and all too powerful.
Ah… yes, and yesterday I watched the VIP live streaming of the launch of “Mozart 3.0”. A vintage, anachronistic, nostalgic tool of something you have never experienced… the hand of Mozart*, on an old Mac, improvising your REQUIEM…on looped playback. I recommend it, it’s expensive but it’s a little sad.
Partners of the Paris Opera’s 350th anniversary
Sponsor of Crystal Pite's production
Sponsor of Opera's Battle
Sponsor of Les Indes galantes
With the generous support of
Sponsor of La Traviata
Sponsor of the Emperor box restoration
Principal sponsor of the Paris Opera Ballet
IT Mobility & User Experience Partner
Mécène Services IT
Sponsor of the Paris Opera Academy
Institutions associated with the 350th anniversary