version

Well-known member
The hilarious thing about it is that no one, at any point, answers the frigging question, in any useful way

I've noticed this in basically any discussion of Deleuze online. I don't think anyone really understands it. You just get vague, often tongue-in-cheek, responses that amount to "just read it".
 

catalog

Well-known member
I've just read this whole thread again, forgot that I posted in it. Good stuff, let's keep it moving. Perhaps we need a summary of the main points so far. I think my original contributions took it off in the wrong direction.
 

catalog

Well-known member
It's projecting adjectives like "panicked" onto me that strikes me as passive-aggressive.

Big fan of The Black Goddess also. His biography is very interesting as it exposes the roots of that work - and his poetry - in his personal fetishes. This is a good piece: https://www.lrb.co.uk/v34/n12/robert-crawford/escaped-from-the-lab

Yeah cheers for that, very interesting article. Never heard of him before, will investigate further. I like how he did an erotic poem about staines waterworks. And the artist Stanley Spencer sounds very interesting as well, never heard of him either. And Dennis creffield
 

catalog

Well-known member
this ones good

detailmanoncrossfromressurectionweb.jpg

just a good concept.

and the weird way he does bodoes. bandied legs. funny faces on the heads. muted colours.

he reminds me of the vorticists
 

catalog

Well-known member
and this one, 'washing lockers' is the most famous one i think

LargeImageHandler.jpeg

nice how you see em from behind only / no one is full face, whats that saying?
 

entertainment

Well-known member
he is very caustic about everything that follows after Warhol (and I guess also Duchamp), i.e. postmodernism, concept art, Koons, appropriation art, Sherrie Levine, probably Damien Hirst type stuff - ie. everything that is evading this primal function for art, and instead playing games with references, offering meta-commentary on art itself. so not unrelated to some of the things critiqued in Retromania - music about music, pastiche pop, etc.

From Kuspit's point of view all this is just prattle, empty games with signifiers, ignoring what people desperately need from art, which i guess he also sees in quasi-religious terms

Was thinking about this line of thinking in relation to punk, because punk, as a artform and cultural esthetic, is of course also conceptual. The jarring, screeching, off-key ugliness is kinda the point of it and that wouldn't really make sense outside of its own history. It would have nothing to antagonize, nothing to negate and expunge. So the value of punk is drawn very much from that secondary, not primal or primary, function for art.

That would put it outside of the sensous domain and into the intellectual, right? But punk is very visceral. The destructive esthetic is clearly a spiritually galvanizing force, but at the same time one that is inseperable from the idea, the concept, the statement, the intellectual 'point' of it.

So I don't agree with this idea that art can only draw real energy from a purely sensous place and that everything else is just empty play with signifiers. In fact, I don't think you can seperate any art from its signifiers and its place in time and culture, certainly it's becoming harder and harder.
 

poetix

we murder to dissect
This Laruelle I think of as a kind of psychedelic investigator, one who subjects the means of representation of experience to a kind of expansive blurring in order that what we really experience might become more variously imaginable. What he is doing does not seem to me to be so very far from what J. H. Prynne is doing: it does not destroy representation, but de-authorises it, returning authority to the primary field of experience within which all representations inhere. Like Prynne, this Laruelle is perhaps best understood as a particular kind of paradoxical figure from the 1960s, all but forgotten in the present landscape: the militant hippy.

from this interview with yours truly, which came out recently: https://markovicmilanenglish.wordpress.com/2020/05/04/interview-with-dominic-fox/
 

luka

Well-known member
"our view of the world was simply made up. And made up by a surprisingly small but depressingly influential number of individuals – from Machiavelli and Adam Smith, to Milton Friedman and William Golding. But if we made it up once, we can make it up again."

 

sus

Well-known member
what I have decided is the Big Job to be done at this point in the timeline is the rejoining of psychedelia and the avant-garde. When I look at psychedelia as a Famous Poet I despair. I think, my God, this is completely bankrupt. It's stalled. It's the Pantheon Bar from Mount Analogue/The Holy Mountain. It's the gift stores that cluster round at the bottom of the path that leads to the shrine. It's tacky and hackneyed and littered with dead forms and retrograde practice, glow in the dark Ganeshes, dream-catchers, Tie-dye T-shirts and Alex Grey posters, rave flyers from 1992.
No Sophisticated Operator is going to want to go near that.

When I look at what remains of the avant-garde as an Ancient Mariner and psychonaut I'm even more horrified. It's the performative connoisseurship of Cafe Oto with it's fine Japanese whiskies and it's craft beers. It's/ real ale drinking, grouchy old men arguing about Adorno, purple Alex Ferguson noses, broken veins, pot bellies. It's Goldsmiths students posturing on social media, pale skin, monkish shaved heads, pursed, priggish lips, beanies and big round glasses.
No psychically and emotionally healthy(ish) person is going to want to be anywhere near those grotesques.

The avant-garde has lost it's animating principle, it's reason for being, it's motivation, has become a deracinated aesthetic/intellectual game and niche market and psychedelia has become an enclosed space, a recapitulation of old experiences without the means to make it new, the means to make it live and breathe again.

Both have become unhygenic and unattractive backwaters, cut off from the moving current. In their current form they both disgust me. Apart neither means anything. The culture can't start moving again until they're rejoined.

but I will join you on this quest, it is righteous and Good.
 
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