"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
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| Umělec 1/2012 | List of all editions. | ||||
Author dreaming of a future without censorship we have never got rid of.
It seems, that people don‘t care while it grows stronger again.
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If the monstrous nature of capitalism calls for monstrous comparisons, perhaps our method of evaluation should be monstrous as well. Wouldn’t this be the least we could do, assuming that we are already living a nightmare? Or must we preserve our humility evening in the face of horror, not succumb to the delusions of well-fitting metaphors and not fight the devil with his own tools?
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My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
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solutions
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Kenneth Goldsmith
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Post-Fordist working conditions wear a mask of openness, flexibility, and individual freedom. Criticism thus finds all the more difficult to achieve its objectives when it is literally attracted by institutions. Under such conditions, is it even possible to make art that is not part of the culture industry? Just like Kenneth Goldsmith in the opening text to this issue, these two British critics ponder the opposing tactics that, instead of attacking the concept of institutions, overpower it. Perhaps even art itself is built of nothing more than inertia.
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"Life continues, and capitalism shapes life in a way it has never been shaped before. If this isn’t something “new”, then the word “new” has been reduced to a meaningless insult. It must be reserved anew for the one and only thing that knows how to use it effectively, for the shoggoth-summoning regenerative anomalization of fate, for the unstoppable creation of a so infinite plasticity that nature collapse and dissolves before it. For the Thing. For Capitalism."
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Divus at Unearthing the Music in Lisbon
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My Itinerary Has Been Monotonous for Quite a While
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Zinovy Zinik: On Sound Monsters
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