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fit speculativ nelimitat imediat a capitalismului, care acum „modificæ
genetic“ arta însæøi, manipulînd propria genæ de artificialitate a acesteia,
artificialitatea capitalismului, altfel spus, este deosebitæ de artificialitatea
artei.
CAPITALISM = ARTÆ, CREAfiIE
⇒
ARTA
=
ADEVÆRATUL CAPITALISM
Integratæ, pentru inepuizabilele ei resurse de creaflie, cu scopul de a
salva, „virtualizîndu-l“, „imaterializîndu-l“, capitalismul, arta poate øi trebuie
sæ devinæ adeværatul postcapitalism al omului: un capitalism în sfîrøit
al producfliei, nu doar al consumului (de resurse) øi bazat pe consumatori.
Prin arta-postcapitalism, omul poate deveni, din consumator, în sfîrøit
producætor de sine ca formæ nouæ de viaflæ.
Pe fondul de sacrificare final-capitalistæ a calitæflii, de falsificare øi de
artificializare radicalizatæ a calitæflii mærfurilor, bunurilor, produselor
de cætre capitalism (cæutarea imediatæ a profitului nelimitat, în condifliile
scæderii generalizate, obiective, a ratei profitului, ajungînd sæ înlocuiascæ
în totalitate exigenflele de calitate, profitul fiind direct proporflional cu
lipsa de calitate, cu produsul speculativ pur: bunuri „virtuale“), arta poate
readuce calitatea solufliilor „capitaliste“ de viaflæ, reinstalînd omul în poziflia
de producætor-emiflætor.
Arta are de luptat, ca nouæ posturæ criticæ, cu „arta“ integratæ capitalist.
ALL-READY-ART
Capitalism, se øtie, egal pragmatism. Ce fel de pragmatism?
Inventatorul conceptului de pragmatism, americanul Charles Sanders
Peirce, s-a væzut nevoit, imediat dupæ ce lansase, cîndva, în secolul
al XIX-lea, apelul la pragmatism, sæ renunfle la acest concept øi sæ reia
exigenfla sub un alt, nou nume: pragmaticism.
De ce? Pentru cæ, asemenea tuturor proiectelor revoluflionare, øi pragmatismul
fusese imediat deturnat, falsificat „pe înflelesul oamenilor“
(aceasta este deficienfla øi periculozitatea de fond a oricærui proiect de
revoluflie: de aceea trebuie evitate revolufliile programatice, pentru cæ
sînt obligatoriu „deturnate“, fiind intrinsec „deturnabile“), transformat
în altceva, aproape în opusul lui.
PRAGMATISM ≠ PRAGMATISM
Adeværatul pragmatism este condamnat sæ ræmînæ, astfel, pe vecie færæ
nume, principala propunere (nu proiect) de împlinire armonioasæ a
omului-producætor de sine fiind permanent deturnatæ øi falsificatæ.
În momentul în care omul a fost ghetoizat ca exclusiv consumator, fiindu-i
interzisæ (dupæ ce i-a fost exploatatæ øi falsificatæ prin hiperbolizare)
dimensiunea producfliei, singura øansæ, singura „politicæ“ de redresare
nu prin salt, nu prin revoluflie, ci pe baza termenilor înøiøi în care este
formulatæ problema, o constituie
ALL-READY-ART
Capitalism, it is known, equals pragmatism. What kind of pragmatism?
Immediately after having launched the appeal to pragmatism, somewhere in the
19th century, the founder of the concept of pragmatism, the American Charles
Sanders Peirce, came under the necessity of giving up this concept and of resuming
the thread of the request under another name, a new one: that of pragmaticism.
Why is that? Because, like all the revolutionary projects, pragmatism too has been
immediately deflected, falsified so as to “be every man’s meat” (this is the deficiency
and the fundamental danger of any project of revolution: that is why the programmatic
revolutions must be avoided: because they are obligatorily “deflected”, since
they are intrinsically “deflectable”), transformed into something else, almost its
opposite.
PRAGMATISM ≠ PRAGMATISM
True pragmatism is thus condemned to remain eternally unnamed, and the main
proposal (not project) of harmonious bloom for man-the self-producer is permanently
deflected and falsified.
At the moment when man was ghettoized as exclusively consumer, after being
deprived of the productive dimension (previously exploited and falsified through
hyperbolization), the only chance, the only “politics” of restoration based not on a
leap or revolution but on the very terms in which the problem is articulated is given
by the
PRAGMATISM OF ART
ART AS ULTIMATE PRAGMATISM
Pragmatism, in other words the wiseness of art.
Wearied, exhausted in so many respects, maybe people will begin to also feel tired
out by the roundabouts of history, by history as roundabout and postponement, as
blockage of all “solutions”, each of which is fatally anticipated to be the “final” one,
by the presumably comfortable unpredictability of suffering while waiting for some
miracle. The suffering which keeps returning, as a “principle of reality”, is actually
the unpleasant surprise of the lack of the surprise which was hoped for, which contradicts
their dreaming, their fundamental lack of realism, the illusion, the “narrative”.
“The hero of pragmatism is not the successful businessman, it is Bartleby, and it is
Daisy Miller, it is Pierre and Isabelle.” 4 “Pragmatism is misunderstood when it is seen
as a summary philosophical theory fabricated by Americans. On the other hand, we
understand the novelty of American thought when we see pragmatism as an attempt
to transform the world, to think a new world or new man insofar as they create themselves.”
5
„I WOULD PREFER NOT TO”
Bartleby pre-fers for he fore-sees the consequences of his acts, the consequences
of any act, of any action. He is the perfect, the accomplished pragmatic individual:
“ZEN”. He has interiorized the whole history, out of a pragmatic prudence whose
nuances of warning and even menace we must clearly perceive, he remains secluded,
“inactive”, a non-revolutionary “parasite”, he pre-fers to remain un-manifested.
“NO BETTER”
“IT IS BETTER NOT TO”
Bartleby’s lesson: PRE-DECONSTRUCTION.
Since pragmatism has been given many deflecting and falsifying uses, deconstruction
too should be given ethical uses which transform it from analytical post-action
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