sometimes I think that persistence of this stubbornly clean/coherent, and almost dogmatically-biased language applied to everything out in the 'thinking' sectors - narrative applications whose proponents might readily admit the failure/paradox of their own intentions - is the very problem that's folding new phenomena 'backwards' towards an appearance of assemblage and pastiche
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like, this pervasive 'spot-the-reference' game - of defining the now through a 'correct' and reductive use of jargon and terms - fading artifacts of previous attempts at (unsuccessfully) explaining complex phenomena - is, by the very fucking coordinates and relationship of that approach's position within the generative signal's circle of influence... not only posteriorally-located but posteriorizing... . , '
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it's not just transmuting the present into History - which would happen for any original emanation over time - but pushing it even further backwards... forcing it into the sterile museums of history's countless failures, rather than allowing it to become its own creative/interesting failure... (failure is key here... it's the illusion of success/perfection that beholdens people to dead languages)
said approach collapses living mutations to an irrelevant 'sum of their parts' (which, through the failure of language, are unfailingly mis-named, mis-applied)
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it's kinda like the way (to probably - and hopefully - misuse a metaphor I'll make with quantum theory) the 'observer' collapses and shapes/'locates' undefined/amorphous quanta by the dictates/metric of his own subjectivity
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I mean, it's a compulsively fun and addictive game to play, but it's not elucidating the whole picture. I wouldn't say life is 'messier' than what it describes... but it's deeper and more complex?
'discourse' should almost be a creative act in itself, possessed by, and realizing, the same force of its object's agency .
(the irony/problem of this post is duly noted... but maybe sometimes you have to partially exploit the confirmation bias inherent to language to reprogram it? a part of the creative aspect of discourse... the refutation/problematization of itself?)
an 'attention economy' vying for views and virality. def can be dismissed as crass and insubstantial.
and the way it's approached, and discussed, it usually is (I'm particularly not a fan of that way of talking about art and culture purely in terms of 'content', buzz, entertainment-value, etc, as if things are just meaningless attention-filler. so much more in there... more substantial reasons some ideas or projects catch on. certain things resonate with people or a time because they're actually resonant)
I'm firmly on the side of wanting to maintain an engagement with that substance / deeper sense of value / narrative dimension
but then, I mean, this whole new-ish paradigm, it's also just grey material. like anything, it's as creatively pregnant as it can be demystifying. new motifs for a new existential tectonics!
because, I believe, only in facing the present - as it is - can you possibly feel its
geist/spirit, which could have only resonated from this particular
set of cultural-historical acoustics...
I mean, it's a singular opportunity, isn't it? isn't it always? I'd rather choose the creative attitude over a mundane defeatism - I guess, at the very least, because it keeps things interesting (and even real). and I hate to be bored (and I don't mean bored as in an 'entertain me' bored, but a 'life has been sapped of inspiration' boredom. I mean, fuck that)
there are several ways some artists have been aestheticising and working through the present, which I'll be exploring over time