ABSTRACT
Jean-Francois Lyotard offers a heterodox spatialization that never resolves into either a logocentric system of oppositions nor into a corporeal space of events. Lyotard fancies that the 'plan libre' operates under the sign of Liber, god of jouissance, introducing the ecstatic and erotic into Le Corbusier's work. The pitch will tell the story of an inhabiting, like the scatter of cutlery and serving dishes at the end of a good meal, or as Lyotard says, 'the bed after love'. Lyotard suggests that the crystallized conventus, is in effect a chorus of these vibratory simple volumes assembled without constraint. Like prisms that combine colours into a white light, the metaphor both Le Corbusier and Lyotard experiment with, these gathering places afford the actualization of collectives as conventus, a demos that is distinct from the spaces of political theatre that attempt to represent and control a public, and which Lyotard explores in his much earlier Dérive à Partir.
