Fashionable Noise: The Banality of the Demon January 22, 2008
Posted by bstefans in : Fashionable Noise , trackbackBecause the demon instinctually creates works of pure noise (even the most artistic demon can do this with the switch of a few variables), it occupies the extreme pole of the “asocial.” That is, were the aesthetic products of the demon taken as human production, they would most likely be considered the work of a highly obsessed, even autistic, individual who cannot adapt to the codes of daily living. In a sense, it easily occupies the epistemological “horizons” of signification that Language poetry has exhaustively explored. This horizon – which the artist, at risk of mockery and utter marginalization, becomes nearly heroic to explore – is the starting point of digital activity and hence a bit banal, as the demon is not threatened with a loss to its cultural capital nor the psychologiical effects of marginalization. The opposite pole from this “noise” – whether created by demon or poet – is “convention,” containing within it the “historical residues” that Adorno writes of above. This space between these poles – noise and convention – is what I call the “attractor,” the space of dissimulation, where the ambiguities of the cyborg is mistaken as the vagary of an imprecise, but poetic, subjectivity.
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