Post by Admin on Jan 27, 2015 1:18:23 GMT
Art is simply what is discussed in the art world, in the artistic community that frantically stares at itself. Even the “creative” act replicates itself to become nothing more that the sign of its own operation. The other aspect of the conspiracy is the viewer who, most of the time, does not understand anything, and consumes his or her own culture twice removed. The viewer literally consumes the fact that he or she does not understand it and that it has no necessity to it other than the cultural imperative of belonging to the integrated circuit of culture. But culture itself is only an epiphenomenon of global circulation. The idea of art has become rarified and minimal even in conceptual art, where art end in the non-exhibition of non-works in non-galleries - the apotheosis of art as non-event. Reciprocally, the consumer moves through it all to test his or her non-enjoyment of the works. Art would do better to disappear without any further discussion. Paradoxically, the movement to democratise art only reinforced the privilege of the idea of art, culminating the banal tautology “art is art.” Everything can supposedly be summed up in this circular definition. p.91
Art has no final destination other than the fluid universe of communication, networks and interactions. p.93
The only radical and modern solution: potentializing what is new, unexpected, great in commodity, in other words the indifference to usefulness and value, the primacy given to circulation without reserve… it excels by exceeding its own form as a pure object, a pure event. p.101
We are now in an end without finality, the opposite of the finality without end that, according to Kant, characterises classical aesthetics. In other words, we are in a transaethetics, a completely different turn of events, a turn that is difficult to describe and delineate, since, by definition, aesthetic judgments are impossible in it. p.104
Circulating without leaving any trace…In a way, this is the simplified aesthetic form of an impossible exchange. So much so that the discourse most capable of rendering it would be a discourse which has nothing to say. The equivalent of an object that is no one. But an object that is not an object is not just nothing, it is an object that keeps captivating you with its immanence, its empty and immaterial presence. The problem it to materialise this nothings at the limits of nothingness, to trace the edge of emptiness at the limits of emptiness, to race the filigree of emptiness, to lay according to the mysterious rules of indifference at the limits of indifference.p.115
You assume you´re photographing a given thing for your own pleasure, but in fact it wants its picture taken and you are only a figure in its staging, secretly moved by the self-advertising perversion of the surrounding world. p.122 All of these are ideas, signs, allusions, concepts. They no longer signify anything at all, but they signify…Art traversed by the idea, by the empty sign of art and particularly by the sign of its own disappearance, its transsexual in its own way. p.126
Finding, through illusion, a form of fundamental seduction! p.128
A dimension that, beyond the aesthetic illusion, reconnects with a much more fundamental form of illusion that I would call “anthropological”
We are in pure circulation and chain reactions through the network. It is a completely new definition of value, a purely centrifugal value tied to pure speed and the multiplication of exchanges. p.159
The mere fact of changing hands creates a sort of symbolic energy of circulation that is transformed into value. The kula is in a way the sacred level, the prestigious level of (symbolic) exchange. p.160
At the very least, the dazzling immediacy of the economy no longer has anything close to the same meaning as in Marxist or classical analysis. For its inputs is no longer the infrastructure of material production at all, or the superstructure. Its impetus is the destructuration of value, the destabilisation of markets and real economies, the triumph of an economy cleared of ideology, asocial sciences, history, political economy and handed over to pure speculation, a virtual economy cleared of real economies, a viral economy that connects in this way to all the other viral processes. p.161
Art has no final destination other than the fluid universe of communication, networks and interactions. p.93
The only radical and modern solution: potentializing what is new, unexpected, great in commodity, in other words the indifference to usefulness and value, the primacy given to circulation without reserve… it excels by exceeding its own form as a pure object, a pure event. p.101
We are now in an end without finality, the opposite of the finality without end that, according to Kant, characterises classical aesthetics. In other words, we are in a transaethetics, a completely different turn of events, a turn that is difficult to describe and delineate, since, by definition, aesthetic judgments are impossible in it. p.104
Circulating without leaving any trace…In a way, this is the simplified aesthetic form of an impossible exchange. So much so that the discourse most capable of rendering it would be a discourse which has nothing to say. The equivalent of an object that is no one. But an object that is not an object is not just nothing, it is an object that keeps captivating you with its immanence, its empty and immaterial presence. The problem it to materialise this nothings at the limits of nothingness, to trace the edge of emptiness at the limits of emptiness, to race the filigree of emptiness, to lay according to the mysterious rules of indifference at the limits of indifference.p.115
You assume you´re photographing a given thing for your own pleasure, but in fact it wants its picture taken and you are only a figure in its staging, secretly moved by the self-advertising perversion of the surrounding world. p.122 All of these are ideas, signs, allusions, concepts. They no longer signify anything at all, but they signify…Art traversed by the idea, by the empty sign of art and particularly by the sign of its own disappearance, its transsexual in its own way. p.126
Finding, through illusion, a form of fundamental seduction! p.128
A dimension that, beyond the aesthetic illusion, reconnects with a much more fundamental form of illusion that I would call “anthropological”
We are in pure circulation and chain reactions through the network. It is a completely new definition of value, a purely centrifugal value tied to pure speed and the multiplication of exchanges. p.159
The mere fact of changing hands creates a sort of symbolic energy of circulation that is transformed into value. The kula is in a way the sacred level, the prestigious level of (symbolic) exchange. p.160
At the very least, the dazzling immediacy of the economy no longer has anything close to the same meaning as in Marxist or classical analysis. For its inputs is no longer the infrastructure of material production at all, or the superstructure. Its impetus is the destructuration of value, the destabilisation of markets and real economies, the triumph of an economy cleared of ideology, asocial sciences, history, political economy and handed over to pure speculation, a virtual economy cleared of real economies, a viral economy that connects in this way to all the other viral processes. p.161