Prisoners of the zeitgeist IIi
03 March 2018
When the thrust of the market becomes nature, domination becomes world, the contemplative character of perfectly realized capitalism appears, which Marx already saw as a totality in progress. In the total commodification of the world the category of the spectacular absorbs and integrates all immanent opposition, captures every form of resistance. Even radical criticism does not escape its pervasiveness, deprived of a real impact on the world it becomes according to Lukacs "unconscious apology of the existing". Every act of overthrow is destined to fail because it comes from a mutilated subject who actively or passively accepts a repertoire of pre-constituted images. The Rimbaudian "change the world" is nothing but an element of that continuous transformation behind which the perennial self-movement of goods hides. In this sense the artistic activity is nothing but refraction of the goods and its infinite images, a device for creating and capturing desires. Debord already referred to the spectacular category not simply in mass-media terms, but as a passive contemplation of images. The subject decides to recognize himself in the dominant images, estranging himself more and more from his essence and his real desire. Art does not live because the subject does not live. If anything, it participates in that process of almost metaphysical celebration of the value of exchange, of the objectification of labor in commodities. In the moment in which it is celebrated it is denied as the possibility of a common language, of a genuine dialogue between non-estranged subjects. The recognition of an artist measures the level of adherence to the system of dominant values ​​that has as its generating nucleus the market and its laws. In such a panorama only an art without images can survive, an oxymoron that we are all called to incarnate, a condition of the subject perennially suspended between realization and fall, made of internal thrusts, submerged movements, hidden yet alive that intertwines amateurism and dedication, awareness and utopia. It is that thinking continually of "the other" in a never victorious or definitive form, continuous, incessant listening, which is not certainty of possession, but of truth on the way.

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