One of the characteristics of our time, which can be observed in many domains and from different perspectives, is the tendency (or trend) – and this word is already part of the complex – to cultivate and give the greatest privileges to everything that presents itself as new, that conforms to the general regime of newness as a social and cultural imperative. In this regime, the new is not that which interrupts the course of the world and time (as were the phenomena that followed the revolution model; the artistic avantgardes, for example), but that which perfectly adapts itself to the spirit of the epoch, the futility of the time, the prevailing ‘neopathy’. Therefore, the attitude that promotes the new as a great imperative which forms on the surface of actuality is not incompatible with a conservative position. The new as a commandment fully satisfies the desires of homogenisation that inevitably inhabit culture, at a time when even heritagisation and museumification are trying to invent factors of novelty.