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+ (presences of art)<br />
PRAGMATISMUL ARTEI<br />
ARTA CA ULTIM PRAGMATISM<br />
Pragmatismul, adicæ înflelepciunea artei.<br />
Epuizafli, extenuafli din atîtea puncte de vedere, poate cæ oamenii vor<br />
începe sæ se simtæ obosifli øi de ocoliøurile istoriei, de istoria ca ocol øi<br />
ca amînare, ca blocare a oricærei „soluflii“, fatalmente resimflite ca „finale“,<br />
de presupusul neprevæzut confortabil al suferinflei în aøteptarea vreunui<br />
miracol. Suferinfla care revine, ca „principiu al realitæflii“, este de<br />
fapt surpriza neplæcutæ a lipsei surprizei sperate, care le contrazice visarea,<br />
lipsa fundamentalæ de realism, iluzia, „povestea“.<br />
„Eroul pragmatismului nu este omul care a izbutit în afaceri, ci Bartleby<br />
øi Daisy Miller, Pierre øi Isabelle.“ 3 – „Pragmatismul nu poate fi înfleles<br />
atunci cînd vezi în el doar o teorie filosoficæ sumaræ, fabricatæ de americani.<br />
Înflelegi, în schimb, noutatea gîndirii americane abia atunci cînd<br />
vezi în pragmatism una dintre tentativele de a transforma lumea øi de<br />
a concepe o lume nouæ, un om nou, în mæsura în care, ambii, se fac.“ 4<br />
„AØ PREFERA SÆ NU“<br />
Bartleby pre-feræ pentru cæ pre-vede consecinflele actelor sale, consecinflele<br />
oricærui act, ale oricærei acfliuni. Este pragmaticul desævîrøit,<br />
împlinit: „ZEN“. A interiorizat întreaga istorie, ræmîne retras, „inactiv“,<br />
„parazit“ ne-revoluflionar, pre-feræ sæ ræmînæ ne-manifestat dintr-o prudenflæ<br />
pragmaticæ cæreia trebuie sæ-i percepem clar nuanflele de avertisment<br />
øi chiar de ameninflare:<br />
„MAI BINE NU!“<br />
„MAI BINE SÆ NU!“<br />
Lecflia lui Bartleby: PRE-DECONSTRUCfiIA.<br />
Aøa cum pragmatismului i s-au aplicat utilizæri deturnante øi falsificatoare,<br />
øi deconstrucfliei i-ar trebui aplicate utilizæri etice care s-o transforme,<br />
din post-acfliune analiticæ, aøa-zis „distructivæ“ a „datului“ øi creatului,<br />
în pre-act pragmatic pre-mergætor oricærei acfliuni, într-un act fundamental<br />
pragmatic.<br />
În inima proceselor actuale se aflæ problematica pragmatismului øi problematica<br />
artei.<br />
PRAGMATISMUL ARTEI<br />
ARTA<br />
CA<br />
ULTIM PRAGMATISM<br />
– sau omul producætor, creator færæ „misiune“, dupæ omul consumator,<br />
dupæ<br />
OMUL OMNIVOR,<br />
scormonind prin gunoaie, prin bunurile falsificate ale actualului<br />
capitalism terminat, pe care doar foamea marginalilor, a „inutililor“ îl<br />
mai susfline, amînîndu-i relansarea prin<br />
CAPITALISMUL ARTEI.<br />
– so called “destructive” of what is “given” and created – into pragmatic pre-act preceding<br />
any action, into a fundamentally pragmatic act.<br />
The problem of pragmatism and the problem of art lie at the hearth of all current<br />
processes.<br />
PRAGMATISM OF ART<br />
ART<br />
AS<br />
ULTIMATE PRAGMATISM<br />
or man the producer, the creator without “mission”, after man the consumer, after<br />
the<br />
OMNIVOROUS MAN,<br />
who rummages through trash, through the falsified goods of the current finished<br />
capitalism which is backed up only by the hunger of the marginals, of the “useless”<br />
people who postpone its revival through<br />
THE CAPITALISM OF ART.<br />
THE INVISIBILE ARTS<br />
As well as technique – hypostatized by its technological reification (technique<br />
as technology) – art disappears, it somatizes itself, it becomes invisible. Art becomes<br />
invisible.<br />
As well as technique, its twin sister from which it has separated itself, in which fork<br />
man’s instrumentality and self-creative utensilness as man’s ultimate essence, having<br />
arrived at the pen-ultimate station, art can still be visible, it is still reluctant to disappear,<br />
to redemptively reabsorb itself in man, so that it fights against technology and<br />
so that it reinvents-rediscovers the Technique of making the Man, of being Man<br />
(something un-given, un-natural and even “against nature”).<br />
Art is still visible. Artists are still hesitating about losing all their autonomy, once and<br />
for all.<br />
THE ARTS OF FINITUDE<br />
AND CONFINEMENT<br />
The cultivation of happiness. The confinement cultivates the arts of happiness.<br />
We confine ourselves within finitude and exploit the finitude.<br />
The benefits of finitude (after the eternal, Man-creating fright that it has produced):<br />
(it is imperative) not to worry, (perhaps for the first time in history) finitude is perceived<br />
by the finite, but infinitely “mechanically” reproducible beings, similar to its<br />
own alibi, finitude is its own alibi: we cannot do, we don’t have to do anything else<br />
but cultivate finitude – for we are finite!<br />
The infinite of finitude!<br />
Confinement within the Self, within the Identical (which intensifies the only possible<br />
knowledge: “the backward knowledge”).<br />
Frenetic creation of confinement: the infinite of confinement.<br />
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