Buying:
body - books/shoe – glue; fragments of an approach"
How is it supposed to function, that distance is
the soul of the beautiful
and beauty the daughter of fear?
Fragments concerning the lack of
euphoria.
The body, the
corpus and the media which do not exist in this way. Because the human being is
a body and has a corpus, he exposes himself to a problem with his life, the
split caused by being a picture and by making a picture of himself.
Performance art is a place where this
split shows itself as horror. The language which is spoken there, is the
language of embarrassment and infamy. If no language comes to speak, it is the
mereness of presence, the sufficiency itself.
The
transcendental guilt (wherever it comes from) as nexus. As rawness, as naked
scheme, it says: what unifies people is „the thing”, the absolute
object of desire, which „commands“ the „amalgamation of
everybody into jointly merging indiscriminateness“.
Dread as will
and imagination. Demoralization comes from the heart of society not from the
fringes. In the long run, it will only increase. Then, one will live with
insupportable tensions and insupportable indifferences. This is all
foreseeable, in essence it is already present. Time merely develops a dilatory
effect. Then it is bad to get into a wrong sequence; one will then find oneself
in the midst of pushing and shoving. The army of the dead and mutilated, which
western progress and, in goosestep the modern times, drives before itself, is
so real …
In all these
ways of publishing demoralization it has to do with possible conversion of the
usable, the military character, the virtuality of which is ritually underlined,
in particular in the ceremony of profanity, through which the threshold is
crossed between production and use, creation and misuse. This threshold is
solemnly dedicated in shame at the moment of crossing it, because the
appropriation also comprises the misappropriation.
Things always
offer more than known appropriations; even where they are outside the common
use, or maybe exactly then, they shimmer with an enigmatically anticipated but
unknown richness, for which one does not even have the idea of an
appropriation, but already is in the process of transformation with it. The
body does not need the corpus, the corpus is not existent without body.
Violence arises.
That
embarrassment is the indicator of the split, wherever it is. Whoever tracks it,
may explore our manners and customs as far as the deepest, most delicate and
hidden openings, the cultivated vivisection.
The defect of
the modern time lies in its consciousness of avant-garde. This stain of
adaptation, of the expectation that the world waits in its progress for the
artists. In the end, it will be indispensable to admit that these artists
cannot be released from responsibility for the totalitarian epochs. Because
they saw themselves in the avant-garde, they assumed responsibility for what
happened in the rear area (Jean Clair).
Objection: I
have read: He vomits all the time on the road, also in father's new Opel
Admiral, and on all inadequate occasions he suffers from a trigeminus
neuralgia, a convulsive grinning which always annoys his father.
Terror lies
over the country.
Criticism of
delimitation in the mediatisation …
Media do not
answer, corpora do not ask. Picaroons' flesh, empire of the global, the
non-linear medium is the product of attentive observation.
Wrong
adaptation, acceptance by outdoing as a media question? The popularisation of
the media goes hand in hand with its risklessness vis-à-vis society and
life. The sphere of the body was symmetrically adapted to the sphere of the
corpus. To produce a context is this motif.
I dreamt that a
human being fell from the sky and I didn't care.
The priority of
the picture: The non-mixing of the perceptional media with the tendency to
trigger off cognitive signals in favour of a directness.
A line must be
drawn between the statements: performance is life at which a medium aims
(Franklin Aalders); the only medium of
quality is every other person (B .N.)
and the phrase
by Plessner:
The problem
of the human being is that he is a body and he has a corpus.
The
unspeakable and the tolerable.
This split is
the discovery of the „medium“ and here I am seized with holy anger:
the tear does not lie between spirit and corpus because these are two sides of
the same coin. If interface, then in the right places. Where must the knife be
applied.
Why anger: It is
against the dominance and against the expectations of the media, to promote
the killing, since I, however, advocate for every act of cannibalism, the
act of incorporation.
Medial corpora
may not only be understood as shaping hardware (video sculpture, audio-visual
sculpture, models) and shaping software (audio tapes, radio plays, video
productions, films or computer animations), but also as context-related objects
(project-oriented hardware) as well as objects in the micro and macro area
which are and become temporary media carriers; and if shape-bound software (the
thought itself) has no structures, which are „medial bodies or
sculpture“, am I interested in that?
Item:
If you admit
that besides the classical context of society forming action, individual
performance, correct speech and temporary entertainment,
„performance“ has an original characteristic of „the present
of the picture“ as an action (medially free, since it is medium itself
and capable of using any medium as appropriation at any time), it is the
vicinity of the body, before the split.
Item:
If
„staged, mediatised space“ not only means to move in virtual
spaces, but implies the questions in advance: which media are for which space
– are reason for what conditions/prerequisites; and if you assume that
staged spaces are primarily spaces of action in which, on the other hand, one
or several media are directed at one or several media, and this means
decisions, which must be taken long before every animation (staged for what?),
is this reason enough?
How does the
body come to its corpus?It may be assumed that a cognitive being, oriented
towards a specific point directs its attention at a certain thing, from
whatever kind of a reality. The directing of the attention takes place by means
of instruments which can be called a medium, which is a medium. The spectrum of
the media must be seen from the intention, desire and will, on the one hand, to
every form of tool, electronic equipment and machine, and to every discourse
about the effect and publicity of power; in this context, power must be put on a level with being
sovereign.
The body in its
radical groundlessness will confront every media theory with the
Medusa-like-stare, which forecasts the disappearance of that process of
imagination which represents the absent. The absence is the presence of this
stare of existence. He who does not bear the stare from the voices of the
pictures will become a hallstand of rampant (media) theory fashions.
Developing
critical instruments for the inflationarily used concept corpus; to hand over
the body to the boundless suction of the senses' intelligence.
The actuality of
the body's subversion lies in the fact that it has an effect as a semantic
unmasking, i.e. depotenciation of the official symbol language, the
vivisection. The internal analogy poesy and science completely misses the
body-corpus discourse.
I have read:
„Three
boys shout and badger each other, shoot themselves with toy pistols in the
temples“.
Medium:
In the open
brutality of this offspring, all our non-aggression is at stake. This does not
take place in the fights themselves, but in the ruleless, uninhibited forms of
aggressiveness. We have neglected any kind of fighting moral, above all to
respect the dignity of the enemy. The source of evil is shapelessness. Formless
pacifism developed into formless violence. The alien (the other) as the clearly
defined final deposit of the moral toxic
waste of the own
ego.
Medium:
When facts
become files, serial crimes. This kind of crime is exactly destined to be
filmed accidentally and shown immediately, to intensify, compress and to awaken
the need to do it again.
Medium:
And the fact
that the audience always reacts with consternation if people denounce the rites
of art, in order to enter into a freedom which is inconsiderate.
„The
concept of sensual resistance – as we use it, does not imply a conscious defence
of individuals or groups of society, but rather a preconscious refusal of the
requested adaptation to new social structures through regression. The
regression refers to religious, magic and intellectual potentials of the body
which uses the senses as tools.
The performance.
It was written:
„One day
in Flehingen a godmother spoke to her seven year old goddaughter: when you get
up tomorrow morning, don't pray as usual, don't comb your hair and don't wash
– come straight to me, because I want to teach you something nice. The
child did as she was told and learned from the woman how to extract milk from a
towel. The child experienced so much joy while doing this, that she showed her
new skill to her father as soon as he came home. Whereupon he opened one of the
girl's veins and let her bleed to death, while he pleaded with her to tell him,
whether she came to heaven or hell. When the girl was dead, a raven flew to the
house and screeched: Whosoever loses himself to performance, is lost for ever
more!“
The
cerebellum is delighted.
Boris Nieslony, 2000
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