[-empyre-] Fungal Arts and Despolitics

IR3ABF ajaco at xs4all.nl
Fri Nov 18 22:08:19 EST 2011


HI Simon

I mostly agree with you, but "the end of art, as we knew it", is imho not so tightly coupled to the economical question but more profoundly routed in the inability to - like you slightly touched upon - perceive *art* and *the world* prediscursively

This connects Merleau Ponty's vision with Kittler et al and is a firm ground in investigating the ways to see, experience and  - most importantly - perceive both art and the world in which art has a *meaning*

The economical value thing merely focus on and derives from the lack of value perception, and not on value *an sich*

So "the end of the art as we knew it" is not happening in this realm, i.e. phenomenologicaly, but *only* after being perceived an interpreted and embodied in a way of *using* it

The *useability* of art expresses just that wat it is NOT

Andreas Maria Jacobs

Sent from my eXtended BodY

On 18 nov. 2011, at 03:33, simon <swht at clear.net.nz> wrote:

> Dear Ioannis and <<empyreans>>,
> 
> Not everything even within the economy is within reach of money's grasp was more my point. When the discourse of the former is limited to the sphere of the latter what we see is ideology - even as Values may be given a price - even as it is the "wrong" one - even as we await the "right" one - so the legitimacy of a market-ridden political ideology is affirmed.
> 
> There follow some thoughts, some rather fugal - apologies for frugality of explanations also:
> 
> The arts speak the language of the carneval? A babble. Out of which everything sensible comes. From the sensate meatspace of it and from the multiplicity of voices - not even voices, chords and vocal folds and sheer inspirations, expiring ... - despite that art is prediscursive?
> 
> A creative prediscursivity then as precondition for the discourses that may come thereafter. When, in which postideology, with Wilde we attest that we have come to know the price of everything and the value of nothing. Now even that that value is up for sale, in the art of disappearance of art into relationalism.
> 
> I agree, Ioannis, which end of history are we at? Where it is incumbent - a comfortable word - on us to 'start again'? Or where we are more excitingly - where my agreement may be placed - called on "to build what comes next"?
> 
> The software example is interesting. Mr. Moglen speaks and Friedrich Kittler answers with less urgency, less (techno)positivism, however persuasively that "there is no software." What we have are layers redoubling of byzantine more than baroque and labyrinthine sinuous codings to hide the material fact of the physical machinery, the hardware. Which, while it may be very little, is disbarred from accounting for itself at the quantum level by noise control. Mr. Kittler makes an economic point when he alludes to the "price of programmability" as at the root of inflationary representative (software or fiduciary) practices.
> 
> Monetizing is all very well and a god-given activity (albeit by a green-eyed god), even as the term has been perverted in the usage of the IT industry to mean "how to make money from..." and turned away from fitting the monetary model to the practice, discipline, skillset, art in question. How to monetize the arts? The lesson of Kittler would be riding the information boom into out-of-control representational overload.
> 
> But isn't this exactly where we are? The 'traditional' 'pedagogical' arts may want to edify us about gods other than Mammon or Hygieia but there has never been such a time for the arts! Design is everywhere. The motorways are lined with artistic concrete mouldings in Auckland. Depictions of pohutakawa flowers, silhouettes of Rangitoto, and abstract patterned indentations, signs everywhere showing the impressions left by the artist's expressive gift.
> 
> To make theatre I ought to work in PR. There is no end of coaching as we gear up for the general election. Dramatic and cosmetic resources are stretched to the limit to turn our political representatives into aspirational representations and media puppets. Meanwhile the mailbox groans with publicly funded graphic art on pamphlets describing the electoral process and how to fulfill one's democratic obligations. Now a matter of cartoons - or cartoonization.
> 
> Which is to say nothing of the media - the mass media = monetized - in both senses - arts.
> 
> On asked why people like second-rate art, a friend once observed that they do not like it; they prefer it.
> 
> In order for fine or even good art to get money and ... mushroom ... mustn't mass media be overcome? forming a rich bed of mulch.
> 
> Best,
> 
> Simon Taylor
> 
> www.squarewhiteworld.com
> www.brazilcoffee.co.nz
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