Noé’s essay begins with two terms, “technology” and “rebellion,” which involve the challenge that confronts contemporary society. The first term did not then pertain to art; the second did, having been considered such since the rebellion of the Romantic era. Modern art became a select art for a minority of people. Thus, Noé begins to make a distinction in art as a phenomenon of bourgeois society, owing as much to its values as to commercialization. Noé points out the various stages of his rebelliousness, finally considering it as a form of art unto itself.

Luis Felipe Noé (Buenos Aires, 1933) began his studies with the painter Horacio Butler at the beginning of the 1950s, mounting his first exhibition in 1959.  In 1961 he had a group exhibition as Otra Figuración [Another Figuration] at the Galería Peuser in conjunction with Ernesto Deira, Rómulo Macció and Jorge de la Vega. The group exhibited together until 1965. Noé stood out among the group due to his theoretical reflections on art in contemporary society. Among his central tenets was the idea of “chaos as structure” of an artwork. Notable among his publications are Antiestética [Anti-aesthetic] (Buenos Aires: Editorial Van Riel, 1965) and Una sociedad colonial avanzada [An Advanced Colonial Society] (Buenos Aires: Editorial La Flor, 1971).  

In October 1968 Noé returned to Buenos Aires from New York, where he had lived since the end of 1965. Beginning in the previous year he had begun to confront his crisis regarding painting, in accordance with his idea to “end aesthetic contemplation” in order to privilege that pertaining to the] social, in particular mass society and changes in the political climate. This document is key to understanding Noé’s thoughts on art and technology, as well as the revolutionary processes at work in 1968. 

El Cielo [The Sky] was a magazine edited by César Aira and Arturo H. Carrera.