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Thread: Cultural Cowardice

  1. #31
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    both realism and fantasy (as genres) are the enemy of a theory of aesthetics.

    this is why i got really depressed after reading zadie smith's white teath earlier this year. and why i haven't read a book since. Absurdist realism is not a positive hardcore. it is only so for a certain type of cultivated bien pensant liberal.

  2. #32
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    yes, this is why i am trying to hammer this idea of psychedelic literature into the collective dissensus
    head. it really is there and the best expositor of it is the groupname for grapejuice blog.
    me and him discovered it independently. literary modernism is a psychedelic movement
    culminating in finnegans wake.

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  4. #33
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    Quote Originally Posted by thirdform View Post
    yeah well, that sounds like 18th century enlightenment french salon shit.

    no wonder he became a fascist. he was obsessed with existence being an actual predicate rather than mediated through the subject. he was even behind Kant on this. he cannot prefigure the future and his avantgardism becomes conservative for exactly this reason.
    you would be better off chewing your food before swallowing.

  5. #34
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    u shud read j.g ballard, naguib mahfouz, tayeb salih, toni morrison for some real shit. maybe some Ursula Le Guin aswell.

    All of them would be considered diluters by Pound but then his idols admired the british raj. It's crap this theory of aesthetics, it's basically platonic forms for secular atheists. i think an aesthetic theory of good taste is necessary but even Adorno started off with the wrong premises. i like stuart hall for this instead, too much marxism sees culture as topdown culture.

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  7. #35
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    Quote Originally Posted by luka View Post
    you would be better off chewing your food before swallowing.
    allow that. food is of really bad quality these days i remember the days when i lived off one stop chicken tika microwave meals for nearly 2 years. i had to smoke spliffs every time i ate, even if i had meetings and i looked red eye.

  8. #36
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    i've just realised that there is an assumption buried in all this that i should probably make explicit;
    it's the notion that consciousness is a shared space, a commons.
    i think this is where some of the confusion is creeping in.
    porosity is my watchword.

  9. #37
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    Quote Originally Posted by luka View Post
    you would be better off chewing your food before swallowing.
    the problem with english literature bods is they want us to identify with characters and personalities that psychically underdeveloped us, and through their art. this makes sense for an academic. But I'm self taught. Literature is a wound for us. I don't even think it's possible for us to love the cannon in the same way an oxford don would. But then again if I have the misfortune of having kids in this country then who knows.

    Not that I want to go back to the middle east either, and if someone said to me, thirdform, here's your home, will you accept it? with a great sense of melancholy and sadness i would have to say no.

  10. #38
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    like, i cannot read a text from the vantage point of the death of the author.

    but neither can i read it, as a form unto itself.

  11. #39
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    do you think there is such a thing as altered states of consciousness?
    modernism is about those states. it is not about characters and stories.

  12. #40
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    yeah but they are inescapably paranoid. they aren't liberating.

  13. #41
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    ok. well i suspect art is probably not for you in that case. stick to politics.

  14. #42
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    fuck off.

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  16. #43
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    we have to be clear about what we're dealing with. art is not politics. art is not philosophy. if you try to reduce it down to that level of crudity nothing will survive of it. you'll mutilate it.

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  18. #44
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    just try and be patient with me and give me the benefit of the doubt sometimes please. that's all i ask for. thank you.

  19. #45
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    how isn't it? it doesn't just exist unto itself. in with the crypto-christian biz again mate.

    jungle was political. not in the sense of organised left wing politics but as a reflection of the black atlantic, of creole languages, of paranoia, psychosis etc. all these things are political. that was what Fanon was getting at with his decolonial politics. not merely take to streets but take to the streets with technique. refound the world through going back into our psyche.

    Similarly with Tayeb Salih's season of migration to the north, we are presented with the most damning indictment of education as a collectors method in serialised fiction form. and how this can interact with the most atrocious patriarchal exploitation, but also, conversely, that we are talking about non-dualist forms of being and that we are not fully dissecting of our past.

    "I want to take my rightful share of life by force, I want to give lavishly; I want love to flow from my heart, to ripen and bear fruit. There are many horizons that must be visited, fruit that must be plucked, books read, and white pages in the scrolls of life to be inscribed with vivid sentences in a bold hand. I looked at the river --- its waters had begun to take on a cloudy look with the alluvial mud brought down by the rains that must have poured in torrents on the hills of Ethiopia --- and at the men with their bodies learning against the ploughs or bent over their hoes, and my eyes take in fields flat as the palm of a hand, right up to the edge of the desert where the houses stand. I hear a bird sing or a dog bark or the sound of an axe on wood --- and I feel a sense of stability; I feel that I am important, that I am continuous and integral. No, I am not a stone thrown into the water but seed sown in a field. I go to my grandfather and he talks to me of life forty years ago, fifty years ago, even eighty; and my feeling of security is strengthened. I loved my grandfather and it seems that he was fond of me. Perhaps one of the reasons for my friendship with him was that ever since I was small stories of the past used to intrigue me, and my grandfather loved to reminisce. Whenever I went away I was afraid he would die in my absence. When overcome by yearning for my family I would see him in my dreams; I told him this and he laughed and said, 'When I was a young man a fortune-teller told me that if I were to pass the age when the Prophet died --- that's to say sixty --- I'd reach a hundred.' We worked out his age, he and I, and found he had about twelve more years to go."

    It's not about coarseness or smoothness but that precise wetness and slipperiness of existence. i can't see this as anything but political.

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