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| Please let me assassinate you, Mr. Baudrillard...pretty please? It would be such a wonderfully ironic little spectacle. The media would be all over it. Come on, just this once?
I have come to realize that I am (like everyone) an embodiment of the hopeless paradox of contemporary life. I am an artist in a world in which art is dead. Do you know what that means? Art is really dead, and has been for years. Creativity and beauty exist now as meaningless self-parodies; sponaneity and the individual struggle have ben reduced to mere cliches. Everywhere: only objects and the valueless relations between them. Talking is worthless: everything that I could think of saying has already been said a thousand times. There is nothing more to paint, write, or sing. Even Warhol looks pathetically noble now. What can be done? Revolution?! Ha!!! Your romantic sceneist revolt is no more revolutionary than a fashion magazine, and will always be so - you objectify yourselves, you place yourself into a comfortable place in the asshole of the simulation, while attempting to stand against the system of objects that give your life its purpose. There is no real hope for change, because hope implies a future - the future has already been rehearsed, and therefore will never be played out. Give it a few more years and we'll be in Ancient Rome again.
Distaste for everything fills me. Bland cynicism rules me. The postmodern condition has swallowed me up. I feel alien to everything, even the words "I love you" - why, they only signify a love for language, for objects! There is no point in even caring. To be even more apathetic than the simulation itself is the only way to really revolt.
But something deep down tells me that I do care. I really do.
(.......says the glowing, faceless computer screen.) | | |
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<>The defeat of Abstract Expressionism by Pop Art encapsulates the
defeat of modernism by postmodernism in visual art. Abstract
expressionists saw their art as humanity's last stand against the
oncoming tide of postmodern banality.
As the spectacle's power grew ever stronger and more
concrete, taking hold of all aspects of life, the abstract
expressionists let out one last cry of anger, despair, honesty, and
passion before the tentacles of capitalist
emptiness began to strangle the last vestiges of real human
emotion. Despite the despair of their
position, the AEists relished the struggle they found
themselves wrapped up in: the struggle to stay human, to
feel, to express the inner self, in the face of a mighty,
unconquerable wave of soulless bullshit. The struggle of the
AEists was the human struggle. They wanted to strew their
very hearts across the canvas, to express the majesty
of suffering, of life, in a way that language could not begin
to attempt. Their struggle was the struggle of emotion against capital,
against the spectacle. Their art was the art of life, of individuals:
painful, despairing, vibrant, paradoxical, passionate, majestic and
powerful beyond comprehension.>
But in the mid 1950s, the struggle of the AEists concluded. The
spectacle had (supposedly) triumphed. AE was dead, and Pop
Art stood to take its place. No longer did artists seek to express
themselves - there was no longer any "self" to express! The human
had been overcome by the commodity, the self by the spectacle. And
so the Pop Artists took up their canvasses in mimicry of the
glory of the conquering spectacle. Their art was shallow, empty,
only concieved to be hung in bourgeois galleries, for profit and
fame - they knew this and accepted it; it was their
intention. Smugly, cynically (though not completely so), and
with a hidden air of complete defeat and depression, Warhol,
Lichtenstein and their cronies launched a new art, an art free from all
vestiges of humanity, an art as "transient, mass-produced, witty,
sexy, gimicky, and glamorous as the new generation" (Richard
Hamilton). It mirrored the spectacle in all ways: demanding nothing
from its viewers but their money, pop art glorified colorful images
repeated over and over without any concern to the expression of
anything "within." Surface had overcome meaning. The
spectacle had triumphed completely, and the pop artists were merely
bowing down to its great and glamorous conquest.

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| MODERNISM POSTMODERNISM MY BELIEFS
Heirarchy Anarchy Anarchy
Technology Cyberspace/Cybernetics Nature
Order Chaos Interconnectedness
Progress Flux Balance
Truth Subjectivity Subjectivity
Functionality Fragmentation Mutuality
Meaning Meaninglessness Value
Reality Hyperreality Reality
Objectivity Subjectivity Subjectivity
Honesty/integrity Play/parody Openness
Serious Sardonic Honest
Freedom - Love
Advancement Cyclicality Immediacy
Struggle Meaningless disorder Compassion
Science Quantum theory Awe
Narrative Hypertext/hybrid text Narrative
Free will Cultural behaviorism Free will
High art Popular culture Individualist expression
Production Reproduction Alienation
Factory Advertisement Slaughterhouse
Marx Baudrillard -
Descartes Whitehead -
Joyce Pynchon Hesse
Early Wittgenstein Derrida Zerzan
Freud (i don't know) Fromm
See if you can fill this out with your beliefs! Or if you can add some more topics to the list. | | |
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Every day the end of the age looms nearer. How will the change come? As the earth is plundered to the last for resources of every kind, as colossal amounts of waste poison every aspect of the ecosystem, as human relationships become ever more hideously distorted and alienated, as the misery of society imposes itself more intensely on every level, as billions starve and die under a sun that grows more toxic every day—- the downfall of the All-of-This draws, inevitably, closer and closer.
None of this will stand. It must past. The sun will not set many more times over the barren city streets of capital’s empire. The great towers of humankind’s arrogance and alienation cannot stand much longer in the fading light. But no matter what we do, no matter what course of action humanity takes, the sun will one day rise over a healed world. Morning will come again—- it must. In the rubble of the empires flowers will grow in the quiet peace of slow rejuvenation.
And so the question is posed—- will humanity be there on that morning, joyful in the calm sunlight, holding each other close and breathing deeply the fresh air of life’s rebirth? Or will we pass into the shadows of time, with only our bones and ruins left to bear tribute to who we were? Will we save our world and everything good about it—- or will we perish along with our machines?
This is the challenge that now rings from every facet of the moment. This is the challenge that echoes between every tree and flower, every factory and cubicle, every suburb and slum, every schoolyard and prison, every ocean and river, every slaughterhouse and battleground, every soul in this wonderful, terrible existence.
How will this all end? Will we destroy ourselves in the great fire wrought by our hands, or will we cast aside our fears, and in the depths of the crisis, reclaim the beauty, freedom, passion, and love inherent in who we really are? Will we be the light before the morning, moving and relating and freeing until the structures have collapsed—- or will we succumb to the isolation that has plagued us all these years?
There is only one answer to these questions: Those who watch to see what comes next never affect what comes next. | | |
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