it is not going to take us anywhere

The developed world has extended and is still in the process of expanding far beyond the traditional borders of the so-called West. This development has led to a clonification of globalized societies with various degrees of modernity and a huge archipelago without a center; all this in globally intersecting temporalities and interrelated geographies. Our current modernity can no longer be characterized by either the modern discourse of the universal gaze of the white, western male or its postmodern deconstruction along heterogeneous lines. This is exemplified by globalized perception and a cultural nomadism. The artist is a travel guide and traveler liberated from an obsession with his/her origins, free to explore, perceiving anew the global landscape and that terra incognita of history. The subject is evocative and evasive at once; he is as precise in its observations as he is vague in its argumentation. However provocative his writing may be therefore, it is also problematic. For instance, the notion of a globalized perspective is somewhat difficult, for it implies a multiplicity and scope of a (simulacral) vision that is neither phenomenologically nor physically. Similarly, the intriguing account of a progressive creolism is opposed to the retrospective multiculturalism of artworks that that can be illustrated with. And the description of the restless traveler and the internaut as embodiments of altermodern art also seem rather anachronistic. For that matter, Saatchi’s (long the personification of the postmodern, late capitalist art made flesh) recent shift away from the Young British Artists toward contemporary artists from the Middle East is far more telling precisely because it implies an invasion in a variety of glocalized perceptions.

This may confuse epistemology and ontology. The form and function of the arts have changed, but the how and why cannot be understood. In order to close this gap, it can be assumed that experience and explanation are one and the same. Seven types of fireworks, in seven kinds of disguises: one is red, one yellow, one blue, one is circular, one angular, and so on. But he cannot see that they are all produced by the same tension: an oscillation between metals, sulfurs, and potassium nitrates. We will call this tension, oscillating between and beyond the electropositive nitrates of the modern and the electronegative metals of the postmodern, metamodernisim. we are on it now and we ought to choose how to use it and for what to use it.

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This entry was posted by Tournapin.

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