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THE HIGHWAYS OF HUMAN REPRODUCTION

In response to this question –

 

“Do you think trans women are real women?”

 

From here – Two strangers, five minutes, eye to eye.
BBC Three 23 June at 17:02 ·
https://www.facebook.com/bbcthree/videos/10155896044135787/
                                                     ~~~~~~~~~~~~~~~~~

 


The question cannot be answered unless criteria for the category ‘real woman’ are stipulated?

 

As biology becomes increasingly susceptible to technological decision, the emergent birthing or even conceiving scenario of necessary parental decision with regard to offspring gender, arises. This creates the possibility of future discrepancy between that decision and subsequent offspring developments, and their decisions. Both are based on design decisions in which the contribution of nature, natural givenness or contribution, is increasingly displaced and problematised, on every vector of its traditional consideration, by technological decision.

 

When the forms of natural constraint are thus dispersed or dissolved, the cultural necessities and traditions based on those constraints disperse and dissolve along with them, giving rise to new cultural scenarios based on new sets of constraints, whatever those might be and however they might be produced.

 

If the scenario of such productions arises through social interaction and determination, it will be subject to the full spectrum of sociopolitical aesthetics prevailing at that time of production. That sociopolitical aesthetic, necessarily the ongoing developmental form or forms arising from the current and preceding ones, is subject to the resources and distribution necessities of the technological culture to which it belongs.

 

Increasingly, as this culture displaces that which it has categorised as ‘nature’ or the ‘natural’, it will be compelled to confront its own ‘nature’, previously considered as ‘artificiality’, in an aporia of questionable designs whose production it can no longer definitively determine, as the notions of ‘freedom’ and ‘necessity’ are mobilised from their traditional sites-sights, onto highways of techno-economic distribution and techno-aesthetic, sociopolitical design.

 

Undoubtedly, on discovery of the weaponisation potential residing within possibilities of so-called ‘gender fluidity’, various state and corporate actors will engage and invest heavily in this area, converting it into militarised fluency of those possibilities. This is always the hypocritical mode of instrumentalisation by which traditional greed, the greed of traditions, transforms into that to which it might otherwise seem ostensibly opposed.

ARTISTRY BEYOND TOTALITY

This was a quick thing, occasioned by reading a long FB post mentioning art and its interpretations. I include it here, on Visions of Temporal Accumulation, because it mentions ‘monadic consideration’, which takes on a specific resonance in my work on General Conceptual Holography.


Whilst the artwork has long been institutionalised as a sociopolitical staging, and mantrick direction, for monadic considerations and contemplations; anything at all, really, can be utilised for such meditations, at the individual’s idiomatic leisure.  The artwork, is thus not necessarily obliged to take sociopolitical form. Neither is it compelled to show, at any point, any signs that might distinguish ‘artistry’ or the ‘artistic’, as if such signposts could position Art and its workings in anything other than a conventional way.
One could, of course, object that an Art without defining boundaries, is no Art at all, or is a totalitarian Art, the hegemony of its aestheticising substance an absolute sublation or sublimation, towards some so-called gesamtkunstwerk or other. Such an objection, of course, has merit as a ‘cautionary’ towards clarity, but speculative considerations of definition do not usually exceed the extrapolatory scope of the conventionscapes of their origination, new maps are required for the heart of art: charts that may well exceed the entire institutionalisation of ‘Art’, without any totalising gestures.

INTERNET, SPLINTERNET

A quick response to Terence Blake’s “ACADEMIC TRAUMA OR NOETIC DREAM: on the vicissitudes of dialogue“.

 

 

[TB] “Readers may see my blog as just more froth in the prevailing sea of philo-babble, but my goal is more democratic (and more pedagogical), and I have made quite a few enemies in trying to de-esotericise the philosophies I discuss.”

 

{AK}: Who cares whether they think it’s frothy or not?!

 

 

[TB] “The almost universal form that this enmity takes is that of ignoring my very existence, of refusing to acknowledge my work or to cite me. This has nothing to do with my use of the blog form, as the same authors occasionally cite blog posts favourable to their cause.”

 

{AK}: It’s not worth worrying about. Individually, we never really get the level of responses we’d prefer. I don’t really have any expectations about it. It comes with the territory of individuality.

 


[TB] “Publicity, not dialogue, is their aim. Laziness, not openness, is their method. Tautological self-validation is their pay-off.”

 

{AK}: Usually, they’re not very good, and they know it.

 

[TB] “These people transpose the power structures of the university to discussion on the web. They seem to be unaware that academics talk of dialogue, its openness and pluralism in order to prevent it from happening. Dialogue would be too traumatic for them, and their careers are based on avoiding it, or repressing it.”

 

{AK}: It’s a lot of work, to even write the low-level stuff of bog-standard academic production. Such obligations of production, naturally reduce the time and energy available for Internet shenanigans. Due to the effects of networked compression, not all institutional modalities of discursive production fare well in the new electronic environments.

 

[TB] “In the neo-liberal university there is only one dialogue that counts in the last instance (to cite a cynical expression of the Laruelleans). Money talks to money, and deals are made on that basis.”

 

{AK}: Let them get on with it!  It won’t make them any better, lol.

 

[TB] “Power, the power to make and to do, to think and to express oneself, does not count, and is actively discouraged. Anyone who has been to university has witnessed this obscene underside (to talk like Zizek) and its symbolic violence at work, and seen its casualties.”

 

{AK}: I don’t really care about any of that, Terence. When it is good, it’s good. When it isn’t, it’s not. Not worth having any expectations.

Aesthetic Transactions 01

 Is Art a ceremonial engagement with the commodified atrophications of a precisely mystified & valorised “creative impulse”, a “creativity”, an “artistry”?
I haven’t read Kant on aesthetics, but could this commerce in signatured trophies hovering around
galleries, museums & other “fine arts” media, desperately trying to stage the Sublime, be nothing more than a profitable shrine to a monolithic myth of creativity, ultimately configured by religious figures of contemplation, even more so when “atheistic”?  A culture of endless & involuted classification: a functional mechanics of “emotion”:, ad hoc cartographies of “soul”, “body”, “the (in)human”: is this aesthetic exploration, or the deep conditioning of entrainment?
Is the carefully crafted agenda of aesthetic legitimation, & all its “institutions”, itself a “work of art”: a vast installation of irony that masks & maintains a primal alienation: the exquisite circulation of an ancient anxiety that was always produced, signed, sealed & delivered: the export of scenarios of fear, the import of unease: are such ministrations of calculated empathy the rhythms of an age that no longer knows how to represent itself. Trapped in self-consumption, a self-reflexive burning of its own history on the stages of Debord’s spectacular society, an age bereft of any stable self-image, because it is now purely an industry of the oneiric, a shuttling commerce of nightmares & dreams…

 

 

 

“Andrew Haase: Often you respond to questions with Kostabisms: “Take the
‘L’ out of PLAY,“” “Take the ‘R’ out of FREE,“ “Paintings are doorways
into collectors’ homes,“‘ “Say less and say yes.“ When interviewers
continue to ask the same questions why change the
answers? These aphorisms seem to be designed to protect Kostabi
from criticism while insuring product recognition in the future. Do
you feel image-production through repetition is a useful marketing
tool?”
(“Rituals of Estheticized Recommodification (An Interview with Mark Kostabi)”: September 9, 1988: p.22)

“Andrew Haase: Kostabi becomes a function‘of the marketplace in an advanced
capitalist society which demands an institutionalized artist while
simultaneously proclaiming the liquidation of the artistic institution.
Both museums and galleries have become not only notches on a
resume, not simply advertising tools, but zones of mass indoctrination
and stream-lined distribution centers for re-processed images
of body, psyche and pocket-book. Not without masochistic pleasure
do we invite Kostabi Inc. to tattoo us with the numbers of our
estheticized recommodification. But how does it feel to be on the
other side of the needle?”
(“Rituals of Estheticized Recommodification (An Interview with Mark Kostabi)”: September 9, 1988: p.20)

“The word people lead the brush people.” Mark Kostabi

http://en.wikipedia.org/wiki/Mark_Kostabi
http://www.artinamericamagazine.com/news-features/news/mark-kostabi-con-artist-tribeca-film-fest/