The right to dull

The philosopher Joel Reghev explains: art allows the procrastinant to exist, but does not free him.

1. In the conditions of the dominance of the “new spirit of capitalism”, procrastination is the dominant resistance strategy, and the procrastinator is a revolutionary class in itself. However, it is necessary to make clarity: in a spontaneous state, this resistance strategy is insufficient and doomed to defeat, and the class in itself will die if it does not become a class for itself. Excrustination is an erogenous zone of reality, that singular point at which a clarifying zoom movement can be made, leading to a change in scale and opening the situation as a whole. However, in its current and spontaneous state, this zone, remaining a zone of increased sensitivity, turns out to be a point of pain. Excredation as it is - undoubtedly, a disease, even if it is fraught with a resource of great health.

2. It is in this that the position of the coincidinal method in relation to procrastination differs from all kinds of anarcho-primitivist approaches that strive for abolition of labor and other abandonment of agricultural civilization and its symbolic benefits in favor of carefree gathering (Bob Black, George Zerizan). Anarcho-Primitivists call for the liberation of the procrastinator-but to the release of it in that painful and disfigured state, which is caused by the fact that the resistant is forced to look at himself with a “oblique gaze”-the gaze of the dominant order. In a spontaneous form, the revolutionary class is always burdened with a reactionary ideology, and it is necessary to split intervention (always perceived from spontaneity as alien violence) so that the revolutionary principle can drop off the appearance of the external that hides it: this main postulate of the Leninsky “What to do?” retains all its significance in the current situation.

The rebellion riot is a rebellion against the new, the uprising of the monotonous and "stupid".

3. The procrastinator is the main resistance engine because it catches the “new spirit of capitalism” on the word. “How many connected, so much existence”: this is the main maxim of “design-oriented city” [1] , which proclaims the fundamental equality of all types of compound and puts the value of the subject into direct dependence on what number of projects connecting the divided together, it can be included. However, in reality, this basic principle is never observed. In the reality of the “new spirit of capitalism”, various types of combination are selected according to the principle of “new” and “creative” for them. Not all compounds are considered valuable, but only those that can lead to the appearance of unexpected, unprecedented, to introduce into reality what was previously absent in it. Other compounds are compounds-losers, boring, monotonous, colorless, doomed to live in their unproductiveness.

4. In this regard, the rebellion of the procrastinator is precisely the rebellion against the new, the uprising of the monotonous and “stupid”. With all its existence, the procrastinator affirms the fundamental equality of all formations as such, providing place in reality to not leading, deprived of the meaning of the compounds: sharpeners and pencils, and another pencil, and one more. Actually, the rebellion of the procrastinator is always a battle for the opportunity to “dull”.

5. "Understand, this is a person who is able to sit and chat for hours with his foot - and watch it." This is a description of one of the most famous young Israeli contemporary artists, Daur Daum, contains something extremely essential for understanding the essence of contemporary art as a whole: it represents the space of determinerization “unremarkable”, “simple connection”, exempted from subordination of the need to mean and produce new ones. Art is the zone of emancipation “any combinations” (sewing machine and an umbrella on the anatomical table). Moreover, the farther, the more the revolutionary potential of this “any” is not interpreted as “arbitrarily amazing and unexpected”, but precisely as “arbitrarily ordinary”. Perhaps it is precisely this struggle between art as a space of “removal”, the area of ​​amazing and new, and art as a area of ​​banal, “simply present”, is one of the main conflicts that determine the aesthetic zone. The main contours of this conflict are already outlined in the Kantian contrast of the exalted and beautiful. However, as always, the visible conflict is only a smoke curtain distracting attention, hiding a genuine confrontation.

Expressification is an erogenous zone of reality.

6. Fearing the connections of people, objects and things from the obligation to surprise, which they are subordinated in everyday existence, art becomes the only way of the self -texting of the procrastinator. This is an area where he can stop feeling non -existent, crossed out, excluded from reality. However, in this confession lies the trap: the procrastinator is admitted to reality - but it is precisely as “no one”, as “worthless” and excluded: the preservation of unreality turns out to be a condition for its recognition. In other words, the procrastinant is allowed to exist here - but only the way the dominant order sees him. At the cost of resistance to dominance, it is impossible to exclude any criterion that allows you to distinguish more and less intense types of compounds. (As a statement of just such a state of affairs, it is possible to interpret many works by Peter Foshley and David Weiss . - Ed. ).

7. Meanwhile, the hierarchy between different types of compounds, of course, exists. The power of the new and productive is based primarily on blackmail: abandon us, and you will be left without any possibility to distinguish, you will become like a sheet, a circular endless whirlwind of barren and barren, “any” compounds. Of course, you are allowed to console yourself and find pleasure in this circulation, convincing yourself, for example, that you are dealing with breathtaking adventures of objects (as in the anti-Rolescare aesthetics of Graham Harman ) or as if you are free from the power of agricultural agricultural and returning to the mode of the existence of a hunter-gatherer (it is the zone of such a “return” that the art of Timothy Mortoton turns out to be a zone of this “return” ). This will not add reality to you.

8. The true resistance of the power of the emperity of the new and productive will be possible only under one condition: it is necessary to contrast the external and heterogeneous criterion for breeding of various types of connecting and holding together the divided criterion of the internal, which allows to distinguish between the intensity and reality of the compounds on the autonomous principles. It is here that the watershed between the reaction and the revolution in art. On the one hand, art as a reservation, as a false consolation that objectifies and perpetuates the procrastinator in its soreness. On the other hand, art as the transformation of this pain into “great health”, an art that finds an immanent criterion that allows you to separate various types of connection. Do not register the strange adventures of objects, do not degenerate into the longing of their endless moon park, do not freeze in admiration for their charisma, not to be an endless soap opera about the “relationships” of countless love triangles “replacing causality” . But - to become a revolutionary vanguard in the struggle of people, things, microbes and constellations against the shadows enslaving them unrealistic, discarded by themselves: this is the task of the art that can be a victorious weapon in the hands of the brief.

9. The emergence of such an art is a matter of the future. However, in the present you can indicate its forerunners. For example, the activities of the S LAVS and Group T Atars , in which plastic objects turn into points of identification of a super -detached main contradiction, unfolding in a series of disparate confrontations in areas of culture, politics and linguistics. Or the sound art of the Parve group and the poetry of Galina Rymbu. Or Alexander Sinch’s project “Test of the Third strip”, where Adidas sneakers become an advanced detachment in the Elastic elasticity of elastic elasticity against the eternal enemy, crushing trees. The crusher prevents the separation of a person from the location of the point and the determinerizing output of the universal code of black and white stripes into the space of the universal code. The release of any formations from the obligation to generate new ones does not lead to endless stagnation in the herbarium of the insignificant. But it becomes only the first step towards identifying the lines of the watershed, according to which reality can be split and transformed.

[1] The term from the book “New Spirit of Capitalism”.