The vital question is how to articulate the totalizing impulse of critique – which I’d argue is still as important as ever, in the face of capitalism’s own totalizing force – with a poiesis necessarily fixated on the smallest point of ingress to the materiality of everyday life, or to put it differently, the smallest unit of affect or event in its difference from a reified situation. Art small-a. I’d be willing to bet that a materialist lyric mode is the closest thing to an avant-garde we currently possess. It’s no longer very interesting to say: “Look, I’ve divested myself of my subjectivity, I’ve laid bare the mechanism through critical mimesis, I’ve taught the petrified social forms to dance by singing them their own song.” Better for artists to ask: “How can I make something that speaks to my experience in all its fucked-upness and seeming inevitability; how can I produce anything at all without immediately reproducing capital; what representational or anti-representational claims can I make with regard to my own place in the violent hierarchy of class society?” But this is a kind of lyric that opens onto epic to the extent it necessarily folds totalization back into subjectivity, or history into experience.
Philosophy, Private Property, and Sound
2 days ago