2010. július 9., péntek

Valér Miko: What is the Message of Zsolt Sőrés's Events

Performances of Zsolt Sőrés present a unique opportunity to meet a man who, besides seeing the world in an existential way, also sees that human culture is at present in one of its breakpoint periods (“turning points”). Therefore, we are confronted in his productions with something that seems incomprehensible from an inscedecent aspect. His existential view is corrected by a new, more important vision. It is a rhizomatic vision, enabling to cross the border of existentiality and to manipulate freely with basic processes of the creation of fundamental cultural spontaneities bound to an ambient, empirical and transcendental plane of immanence. However, he does not use this vision for the synthesis of these spontaneities, but presents himself to us divested of these spontaneities to demonstrate something from a newly emerging cultural spontaneity, the rhizomatic spontaneity.
To be able to realize this transgression, he had to add to his own criticism of the abovementioned fundamental cultural spontaneities the understanding of Derrida's conception of deconstruction, Foucault's conception of genealogy of knowledge and Deleuze's conception of rhizome. These conceptions made it possible to view the postmodern period as a period of transition to a new cultural epoch and revealed the processes, "responsible" for the existence of the aforementioned fundamental cultural spontaneities. Just a brief reminder: the ambient spontaneity is linked to processes of deterritorialization and reterritorialization, described by Deleuze; empirical spontaneity is fostered by Derrida's processes of temporization and spatialization; transcendental spontaneity is produced by the processes of reduction and amplification, established by Foucault. According to these philosophers, the essence of today's cultural reversal lies not only in deconstructivist prevailing over the bond to existing fundamental cultural spontaneities, but also in rejecting the creation of their syntheses. It is to be added that under syntheses we understand inscendent processes of amplification and reduction of empirical and ambient spontaneity.
As the legacy of these poststructuralist thinkers remains, up to now, misunderstood in many aspects, the establishment of a zone (territory) of transition to a new plane of immanence, a source of new immanent processes and a new cultural spontaneity is always a marginal issue of contemporary art, without being of interest to the general public. Fortunately enough, it is an issue for some experimental artists. These artists, despite general misunderstanding, keep on creating the traces of human presence in this zone. They deconstruct the pairs of immanent processes, the bases of fundamental cultural spontaneities to search for new, non-conventional, but purposeful, connections between individual immanent processes, cleansed in this way. These activities bring to life a new rhizomatic awareness, enabling to register a new cultural experience. The principal postmodern "value" is, therefore, this rhizomatic experience. It is to be added that after experiences from Sőrés's events, a feeling appears that he interprets something from it also to us.

Bratislava, 14th March, 2010

The text was originally published in Slovak. Valér Miko: Imanentné procesy v umeleckej tvorbe a nové možnosti jej interpretácie. [Immanent Processes in Artistic Creation and New Eventualities of its Interpretation.] In: Július Fujak (Ed.): Otáz(ni)ly hudobnej semiotiky a estetiky. Nitra, Katedra kulturológie, Filozofická fakulta, Univerzita Konštantína Filozofa v Nitre, 2010, 135-137. Cf. the resume of the study: “…The author of the article offers a view of the processes of contemporary experimental artistic works. The author of the article perceives them in non-conventional connections between individual immanent processes of creating human culture. Immanent processes, as understood here, are the processes described a) in Deleuze's conception of geophilosophy (the conception of creating territories of human culture) as processes of deterritorialization and reterritorialization; b) in Derrida's differance conception (the conception of economy of inner energy needed for creation of moments of transcendental being) as processes of temporization and spatialization; c) in Foucault's conceptions of archeology and genealogy of knowledge (the conception containing criticism of manipulation during creation of transcendental and empirical knowledge) as processes of reduction and amplification. These three conceptions in their synergy represent a deeper insight into the problems of viewing the contemporary cultural processes than allowed by the post-phenomenological conception of viewing the substance of being, based on inscendent process of viewing and realized in the processes of interpretation of being. This process is understood as a synthesis of existential and transcendental subjects, activated at perception processes of retention and protention. They indicate that the contemporary (postmodern) period is one of the periods of accumulation of inner energy of man, needed for the process of total change of human culture. Put more precisely, it is needed for the discovery of new (further) immanent processes, founding the process of creation of a new human culture. In this connection, Deleuze says that such an accumulation happened in the period of the last cultural reversal (convolution) about twenty five centuries ago in all world cultures from China to Greece. Seen from the point of view of immanent processes it is then possible to view the contemporary experimental artist as a rhizomatic person, creating prototraces of a new human culture. They are the traces of non-conventional associations between individual immanent processes, a kind of post modern reservoirs of inner energy, needed for the establishment of a new basis of being of man, a new plane of immanence (a source of new immanent processes). The presence of these non-conventional connections in creative artistic activities is, therefore, a condition, bearing witness to authenticity of the contemporary artistic statement. Key words: rhizomatic person, immanent processes, deterritorialization, reterritorialization, temporization, spatialization, reduction, amplification, inscendency, interpretation, retention, protention.” I. m., 143-144.

Nincsenek megjegyzések:

Megjegyzés küldése