2003-01-15 12:15:08尚未設定
Neither Common Form nor Correspondence (2.3)
*** This is my latest project about Deleuze and Guattari.
*** The references list is in the gust book.
*** Welcome any comments.
The wilful absurdism of postmodernisms of the Baudrillardian kind took off from signification. The ' simulation ' they celebrated is an unmoorings of the conditions truth from the true and false: from designation. Unhinged from designation, lacking a referent, the productive operation of the conditions of truth becomes indistinguishable from a proliferating absurdity: an absurdity by ' unmotimativated ' excess of signification. These particular counter-conditions of absurdity, however, were staged by postmodernists insufficiently unbuttoned from the true - and arguably nostalgic for it - as a parody or ironic subversion of the truth rather than somthing other than it, to which it is ' opposed '. Both parody and irony covertly conserve the true. They need the idea of conformity or correspondence between expression and content as a foil. Ultimately, the postmodern absurdity is to retain the true in order, repeatedly, to lampoon it by bracketing its objective anchoring. Why not just be done with it? From a Deleuzian perspective, parody and irony protest too much. The way in which they performatively foreground the signifying virtuosity of the speaking or writing subject seem distinctly to manifest a personal desire for a certain kind ( a cynical kind ) of masterful presence. The ' nostalgia ' their postmodern practitioners have sometimes been accused of may have betokened, even more than a residual attachment to the truth, an investment in manifestation: a nostalgia for the master-subject whose ' death ' postmodernism manifestly announced. The same might be said of a precursor of this form of postmodernism, surrealism. More sober postmodernisms were to find somewhere seriously absurd to take the unanchoring of the true: into the sublime.
*** The references list is in the gust book.
*** Welcome any comments.
The wilful absurdism of postmodernisms of the Baudrillardian kind took off from signification. The ' simulation ' they celebrated is an unmoorings of the conditions truth from the true and false: from designation. Unhinged from designation, lacking a referent, the productive operation of the conditions of truth becomes indistinguishable from a proliferating absurdity: an absurdity by ' unmotimativated ' excess of signification. These particular counter-conditions of absurdity, however, were staged by postmodernists insufficiently unbuttoned from the true - and arguably nostalgic for it - as a parody or ironic subversion of the truth rather than somthing other than it, to which it is ' opposed '. Both parody and irony covertly conserve the true. They need the idea of conformity or correspondence between expression and content as a foil. Ultimately, the postmodern absurdity is to retain the true in order, repeatedly, to lampoon it by bracketing its objective anchoring. Why not just be done with it? From a Deleuzian perspective, parody and irony protest too much. The way in which they performatively foreground the signifying virtuosity of the speaking or writing subject seem distinctly to manifest a personal desire for a certain kind ( a cynical kind ) of masterful presence. The ' nostalgia ' their postmodern practitioners have sometimes been accused of may have betokened, even more than a residual attachment to the truth, an investment in manifestation: a nostalgia for the master-subject whose ' death ' postmodernism manifestly announced. The same might be said of a precursor of this form of postmodernism, surrealism. More sober postmodernisms were to find somewhere seriously absurd to take the unanchoring of the true: into the sublime.