Both Hegelian and the Heideggerian models understand art as a situation, a predicament, a “clearing,” within which the self approaches itself from out of the darkness of misrecognition into the “lighted space” of recognition. This understanding of art refuses Kant’s injunction that art be purposeless and disinterested, recognizing instead that, at the point of production, the purposiveness of art is not without purpose, the purpose being its own becoming as a work.
Difference resists inclusion within the symbolic network which it produces as its destination and even “discovers” as its origin. Qualities, especially when taken as signs, present us with these same two faces. For on the one hand, they indicate “an implicated order of constitutive differences”; but on the other hand, the quality “tends to cancel out those differences in the extended order in which they are explicated.”
“For me there is only the traveling on paths that have heart, on any path that may have heart, and the only worthwhile challenge is to traverse its full length–and there I travel looking, looking breathlessly.”
Phlogiston of the nagual. Solo full-length tracks from an earlier post….Chronic sans Riddick. Visits to nonordinary reality and leaps into the abyss of aural hallucinations. Ambient dubplates volume 6.
From the Multiverse’s bong comes neuron-fired rhythms and alchemical synthesizers, morphing in the dust and smoke clouds of Hubble hallucinations. These are the initial ‘prototype/Music Minus One’ versions, further development being considered (I am currently trying to teach Einstein to sing for future versions!)
Down into the abyssal zone of faux noise floors, where the rasp and spark of cracked media wounds step out of the shadow of digital purity. Turning bits into atmospheres and detritus into tactic (cracktics).