HIGH LITERATURE DECAFFEINATED
(Fragments divagational)
None of us were "original" in the sense romantic than many people associate a genius. However, most of science, engineering and software development is not done by geniuses, but the mythology hacker hold otherwise
Eric S. Raymond
Why bother to make art when you can quit, get a real job, enjoy higher standards of living and use your time to sit to see American movies on video super well built?
The Bank
in English literature is a tendency (A topic on many interviews and articles) to consider that have broken the boundaries between high and low culture, and somehow the pop culture has destroyed the old border. But is this so? From one perspective ( naif y) somewhat cool is easy to point to write about or include fragments Belén Esteban television series or theorize about the Simpson implies a total fracture of the border. That as good multiculturalists borders have been demolished and there are no differences. However, this approach falls into the fallacy embodiment of which Terry Eagleton speaks. Fallacy that is to believe that by talking about certain things in certain terms is closer to that thing. Eagleton said: "Language and reality are not two objects as one ends, that can be placed at different distances from each other." In this sense we can speak of the fallacy of pierced border, which is considered by talking about particular situation or particular pop icon is closer to the popular. This, as we know, is a nineteenth-century fashion, modern artists whose playing, as indicated by Perry Anderson, "a plebeian parodically identification with the underdog and ambitions of would-be understood regarding the above. "
However, in reality, in this process or current strategy, thus creating a third territory, a third language, rather than popular culture and beyond high culture (understood FJO remains as in the manual, in the cultural archive, use the words of Boris Groys). Talking about the Simpsons is not breaking any barriers between high and low culture but to create a third territory, a third speech. Actually there are three different languages \u200b\u200bthat are mixed but are not confused. The Simpson or Dexter, por poner dos ejemplos al azar, sobre los que el teórico (o el escritor) escribe no son los mismos "Simpson" o "Dexter" que vemos a la hora de buscar entretenimiento (o que el tiempo se entretenga en nosotros), pero de la misma manera tampoco son los *Simpson o el *Dexter que son considerados frívolos y cínicos por la alta cultura o la academia (extraño fantasma éste al que es fácil golpear pero sobre el que se piensa muy poco). Es decir, más que teorías o poemas o novelas sobre esos objetos pop lo que hace el escritor o el teórico es alegorizar sobre ellos. Sí. Retorna la alegoría. Craig Owens hacia 1980 señalaba en "El impulso alegórico" que la base of allegory (in his return postmodern) involved the rewriting of "a primary text." He added, "the allegorical meaning supplants another meaning antecedent is the supplement." This supplement is the third language that is built when an author believes (or pretends) to overcome the boundaries between high and low culture. That is, establishing a new kingdom where he is the patriarch, but did not break any arcane border. Allegory would imply (by Benjamin) to empty out some to reassign one direction rather than the same something , bringing its cool effect. And somehow, and Owens is an example, this approach would what happens to a large extent in all discourses that seek to overcome this barrier ghost is something of a nostalgia of the postmodern philosopher stealing words Domingo Hernández Sánchez. Such nostalgia can be seen in the tendency to use elements outside the literary tradition itself being introduced as a way to create a different speech from the appropriation techniques and materials. In this sense, one of the theoretical to the most is often used in current literature to defend a certain position is Nicolas Bourriaud, who texts as relational aesthetics or Post-production noted the new path for contemporary art in the territory of the assembly. This is the use of materials for construction and mix and subsequent work. Project he notes as an extension of modernity and in Post-production described thus: "modernity continues today in the practice of DIY and recycling of culture, the practice of everyday life and time arrangements, which are no less worthy of attention and study messianic utopias or formal developments that characterized yesterday. " In a recent text entitled "Splendor and ruin of a paradigm: The relational, Paris, Madrid, Madrid-Leon ", Juan Albarran described perfectly the weariness of the relational and nostalgic sense," Bourriaud modern project aims to recreate the shedding of ideological dogmatism and teleological readings while outmoded postmodernity assumes (without ever explaining what it means for him this confusing concept.) And yet, the taste for the appointment, by recycling, DIY culture, by the appropriation and recontextualization of artistic references, the eagerness to take on a new artist elements that are beyond the sacred space of art "make us think in the nostalgia of the postmodern. It is perhaps this nostalgia, through new forms of appropriation that we see, also, part of English literature. Nostalgia of a postmodernism that we have not really had, nostalgia takes now that the postmodern is diluted, the face or disguise the sampler or dj, but it would still be nostalgia .
What really exists "from one object to dialogue a TV series or a" piece "of Wikipedia, is currently used to a lesser or greater extent, with every intention of rebuilding reality differently, ie artistic purposes. Such use may be highly intelligent and important to our tradition, as in some cases. However, post-production and sampling technique (also in English literary version) no longer be at all nostalgic, very conservative in two senses: first, as that would eliminate any critical sense of what used and, secondly, as an extension of this inactivation critical, while having a wild interest in commercial success. It first gives a good account of himself Bourriaud when trace their relationship to the situation (which is likewise dismantled). In the intervention strategies, within the situations, the diversion and copying act as role models antiideología virally, denying any authority, and any historicist division between past and present, but in addition, this intervention involves a constant devaluation of art, a critique of its own foundations. However, the intervention strategies of the post completely off making it soft and situationist strategy, especially domesticated. Bourriaud himself acknowledges: "Situationist handling procedures without seeking the abolition of art." That is the conservative strategy. None of criticism of the institution or the artistic or literary market. More Moreover, need for it. Since Duchamp, the appropriation of what exists was a critical sense, or towards the art itself or out, the reality. However, these current appropriation strategies closely resemble that example that put Wittgenstein in Philosophical Investigations , one example of the subject that bills passed hand to the other and thought-proud-to be making new economic transactions . From this, precisely, warned Douglas Crimp in the eighties, noting the conservatism towards which certain appropriation: "the strategy of appropriation becomes just another academic rank-one theme, through which the museum organized its objects.
This attitude is seen also in the algebraic form through which Eloy Fernandez Porta defined in Afterpop, independent scene: "The independent scene is the result of the presence and value works based on an attitude coolhunter , assuming that your first destination is the slipstream and maintaining mainstream as unknown, ie the opposition as a factor which may occasionally create a space " . This is another way to get back to the words Perry Anderson, quoted above, about modern life: "a plebeian parodically identification with the lower and ambitions of would-be understood regarding the above." Or put another way: the independent scene involves the relentless pursuit of novelty (modern mind) knowing that the reception of your work may be marginal , conditioned by the fact that a work outside the central tendency dominant, but-and here comes the interesting-looking sideways at the same market (and its dominant thought) if it is possible that "be you" who let go. Ie "I want to be like you, but now reject me. " Or, in other words, pure melancholy and domesticated state. Therefore the mainstream is a question that can be opened to our state of melancholy. And why can open? Because "the art market the marginal needs to feed its hunger for novelty, the manufacture of marginality [part] of their business." Julian describes it in his Stallabrass High Art Lite (published in Spain by Brumaria). Is the market creating the margin, this marginalization. But not only creates the margin, but that disables all critical sense (to keep in a state of melancholy). He adds Stallabrass, "the decision to move material from low culture to high culture and even has political baggage." He concludes: "this transfer is merely voyeurism has become cult." As in the parable of Wittgenstein, we spent the day moving things from one hand to the other and we do good business. But, and here is the mystery in the air, what does this mean? Is there only one negative reading? We leave it for now by quoting Domingo Hernández:
" the result seems to be the placing of such a speech to two expectations: either we become all postmodern and so we can continue to enjoy the exhaustion of the many drills and networks of signs, or we become outdated Situationist strategies guided by nostalgic, romantic and, at best, utopian. I say the best ... because the worst thing is clear: put in the very dialectics of the show. "
[This text is part of the book in preparation literature lite High ]
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