Fragments I (24 NOV 2005; edited 6 JUL 2007)

1. These new “unbelievable” graphics are certainly not mimetic in the sense that the goal is no longer to emulate an indistinguishable reality but, rather, to create a hyper-reality that is more real than the world through which our feet must tread. What does this mean for perception? for experience?

2. What offends most about so-called “displays of manhood” is not their vulgarity but the intolerable amateurism. Similarly, people often think they’re being rebellious without knowing they are contributing to the very system they think they reject. In this the Frankfurt School was absolutely right—false consciousness.

3. Is it possible that the moral duty of the artist requires a withdrawal? If the masses can only be parasitic on art—if the system that makes the dissemination of art possible is precisely what is enslaving art (i.e., the networks of capital, industry management, etc)—then the artist is required to withdraw into silence and sacrifice the existence of art—let it be destroyed by the amateurs and opium peddlers—so that it must be created again. (The Chinese masters, under the threat of Communism, let their art die, for example.)

Amateurism (6 OCT 2005)

There are those babbling voices that like to protest the barbarities of our gargantuan (yet invisible) world of concrete and capital. Entire genres of music have been born from the cries of those giving birth to that world. But these are those who fail to understand that it is only the priest or the king who can stand and speak of what is forbidden—for it is hidden precisely from those who would proclaim it.