- 11
- Mar
- 2024
Amélie Nothomb at the Louvre: An IQ Odyssey Without a QR
modified on 11 Apr. 2024 à 15:54 Read : 3 minute(s) A A A
In this hyper-connected world, it seems that some still resist the digital invader. Among them, Amélie Nothomb, an analog heroine, stands as a bastion of cultural resistance.
Amélie Nothomb is a renowned writer who, in the age of digital everything, continues to write her novels by hand. Yes, by hand, with a pen and paper, like in the good old days when we still believed in the power of handwritten letters. It’s an achievement that deserves recognition, especially when most of us panic at the thought of drafting a tweet without a spell checker.
But here comes Amélie Nothomb with a heartfelt outcry, a rant worthy of the great tragedies, against those museums that dare to ask their visitors to book online. “An injustice,” she claims, and in a burst of despair. She confesses, “I can’t afford to book a museum. I don’t own a computer, I don’t know how it works. I don’t have a smartphone, I don’t know how it works.”
Yet, she dares to swim against the current! As proof, her wild adventure at the Louvre, where, defying all modern norms, she ventures without reservation, driven by a thirst for art and rebellion. “I go with the flow, I go with audacity.” She proves that, in a world governed by algorithms and QR codes, boldness and a bit of audacity can still work wonders.
But behind the humor and irony, Amélie Nothomb touches on a sensitive point: our growing dependence on technology and how it can, paradoxically, distance us from some fundamental human experiences, like a spontaneous museum visit.
She embodies this almost romantic idea that perhaps those who live in their bubble, against the digital society’s current, are truly living. Maybe in their refusal to bend to the omnipresence of the digital, they remind us of the importance of spontaneity, of wonder in the face of art, without a filter or screen in between.
Her plea for stubbornness resonates as an invitation to rediscover the joy of unexpected discoveries, in a world where everything seems planned, scanned and measured. She reminds us that beyond our screens lies a world rich in colors, emotions, artworks begging to be admired, without prior appointment.
Ultimately, the story of Amélie Nothomb and her quest to revisit the Louvre without succumbing to the demands of the modern world is more than just an anecdote. It’s a modern parable about resistance to standardization, a hymn to individuality in an era during which we risk getting lost in virtuality.
Perhaps, after all, Nothomb is right. Perhaps those who seem outdated, who refuse to submit entirely to the digital dictatorship, are the ones who are truly living.
So, the next time you consider visiting a cultural site, maybe you should consider doing it “à la Nothomb:” without a reservation, ready to face surprised looks or digital barriers. Who knows? You might discover that, in this act of rebellion, lies a form of freedom many of us have forgotten.
What if all it takes is for us to close our screens, pick up our pens and let life surprise us?
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