CONTRADICTION AS THE MAIN SOURCE OF REALITY
W.K.— Matter of fact the idea was all mine; it's just that I didn't know just yet. Part of the archetype, extension, we are all one. Wouldn't you agree?
G.T.—You're just another hypocrite making profit out of circumstances that aren’t necessarily affordable in this day and age. I can give you fine examples where this appropriation of identity has caused not only decadence in art and culture, but also an unexpected deification of false artists.
W.K.—Well, start by one if you must. And please, dismiss the adjectives.
G.T.—It is well known that the naturalist poet Geoff Strindberg, back in 1824, not only copied the manuscripts of his instructor in Law and Religion, the well known politician Ludovico Stein, in order to present a new way of understanding royalty in the modern age to the English crown. According to his theory, he based these new ideals in the thoughts of William Blake, who also, according to Strindberg, had designed strategies to take Tiger Mountain, in the northern side of Smithsonian territory. Of course, the Queen was more than displeased to hear rubbish about glorious imagination and the inbreed of new power found in low class people, particularly coming from an adolescent involved in cases of moral misbehavior.
W.K.—So?
G.T.—Appropriation of a creation is decadence of spirit.
W.K.—But isn’t that another game of logic?
G.T.—Oh God Almighty… How far can you go with this? Ok, I’ll let you have a shot at this one.
W.K.—Well, I believe we have entered an age where the bounds of fiction and reality are becoming smaller and smaller, if not, maybe inexistent. Matter of fact, if fiction first was conveyed according to the supposed terms of imitating reality, now reality is understood according to the broader mechanisms of fiction in all its possible forms. Imitation of life now is what I call INTERVENTION OF SPIRIT, and its further destruction. I deny the thought of a world more and more involved in benefiting the individuals or constructed by their power of will. Reality is built on mechanisms of interpenetration that, at this point of human history, have overcome men and are controlling their exercise of freedom. Entertainment is reality, art is dead. If in the past we had great artists that confronted their craft in order to introduce new forms of connecting sense in our everyday lives, making life more beautiful or deviant or violent or sexual, now these articulations of meaning have overcome our own judgment, and on top of this, technology has inflicted a dramatic evolution in our mechanisms of perception. Everyday we struggle to update our bodies to new constructions of discourse that go beyond their primal capacities.
G.T.—You’re not saying anything new, besides, it is clear that since 1967 and the psychedelic revolution, the so called “Summer of Love” and the imposition of consumption of major drugs by the governments of different nations, a majority of individuals altered the mechanisms of electric impulses in their brains, thus altering their core DNA information, transposing that data into next generations, we are not only talking about mediatic imposition but also organic, biological. Some called it evolution, others revolution. Borroughs referred to it as the “air-conditioned nightmare.”
W.K.—Yes, indeed. And in that sort of new revolution of information is that identity and originality, as well as appropriation of a particular work of art or writing has no point whatsoever. Authorship is not relevant any more in these days. I can impose myself to say that the Mona Lisa was of my creation or that The Call of Cthulu is an extension of my inner thoughts materialized in another time by someone who had the despicable action of labeling this piece of writing with his name. I was the one who invented that piece of writing, I conceived it and technology gives me all the strength to make it my own again. Life itself is a broad band and I am at the center of it. I can manipulate text, images, film, anything. I do it on a daily basis at my home, thanks to a MAC powerbook G4. Masterpieces of all genres now, more than ever, are being capitalized by cultures. The profit is not only economical, but transcendent. Governments strive to maintain culture at all costs and they are the only ones now permitted to destroy culture. Culture is a matter for manipulation, the more of it the highest powers have, the stronger they will become. My position is against these new forms of fascism.
G.T.—You’re contradicting yourself. You deny appropriation and authorship; nevertheless you do the same and seem to enjoy it. Wouldn’t you be a lesser degree fascist at the same time?
W.K.—Of course, I create out of contradictions, and that which has been my creation will soon be transmuted by another one. You see, it’s not just plain plagiarism, but a search of unstable reference to all sorts of things. I AM A CULTURE VULTURE; I live in the impossibility of grasping all sorts of data at any costs. I have to produce in order to become real, to be part of the information chain, I have to be there, connected and transmuting data, that is my action, my inner and outer activity, the only purpose. It’s not just being influenced or conducted by Plato and the origins of medieval mysticism, or listening to Tran Europe Express or reading Calderon de la Barca. I have to incorporate those senses into my expression by taking them and mutilate them, and having no shame in realizing that it’s nothing but another remix, nevertheless my own glimpse at these senses. Being an author is just a fétiche. The markets of publishing have become so overcrowded of authors of all sorts that it is irrelevant who truly wrote these products. What is relevant is the generation of sense in ourselves and its counterpart which is production. Virtual action and the production of text must be a right to all people, as well as denying this right and not using it.
G.T.—So then you’re just another victim of the system. You’re not a true transgressor. In the long run, just like your hearing device has demonstrated, there’s no longer belief or altruistic desire, you’re only in it for the money. How can you judge others and have the balls to call yourself a messiah?
W.K.—Contradiction is the main source of reality.
G.T.—Well, you’re still full of shit to me.
G.T.—You're just another hypocrite making profit out of circumstances that aren’t necessarily affordable in this day and age. I can give you fine examples where this appropriation of identity has caused not only decadence in art and culture, but also an unexpected deification of false artists.
W.K.—Well, start by one if you must. And please, dismiss the adjectives.
G.T.—It is well known that the naturalist poet Geoff Strindberg, back in 1824, not only copied the manuscripts of his instructor in Law and Religion, the well known politician Ludovico Stein, in order to present a new way of understanding royalty in the modern age to the English crown. According to his theory, he based these new ideals in the thoughts of William Blake, who also, according to Strindberg, had designed strategies to take Tiger Mountain, in the northern side of Smithsonian territory. Of course, the Queen was more than displeased to hear rubbish about glorious imagination and the inbreed of new power found in low class people, particularly coming from an adolescent involved in cases of moral misbehavior.
W.K.—So?
G.T.—Appropriation of a creation is decadence of spirit.
W.K.—But isn’t that another game of logic?
G.T.—Oh God Almighty… How far can you go with this? Ok, I’ll let you have a shot at this one.
W.K.—Well, I believe we have entered an age where the bounds of fiction and reality are becoming smaller and smaller, if not, maybe inexistent. Matter of fact, if fiction first was conveyed according to the supposed terms of imitating reality, now reality is understood according to the broader mechanisms of fiction in all its possible forms. Imitation of life now is what I call INTERVENTION OF SPIRIT, and its further destruction. I deny the thought of a world more and more involved in benefiting the individuals or constructed by their power of will. Reality is built on mechanisms of interpenetration that, at this point of human history, have overcome men and are controlling their exercise of freedom. Entertainment is reality, art is dead. If in the past we had great artists that confronted their craft in order to introduce new forms of connecting sense in our everyday lives, making life more beautiful or deviant or violent or sexual, now these articulations of meaning have overcome our own judgment, and on top of this, technology has inflicted a dramatic evolution in our mechanisms of perception. Everyday we struggle to update our bodies to new constructions of discourse that go beyond their primal capacities.
G.T.—You’re not saying anything new, besides, it is clear that since 1967 and the psychedelic revolution, the so called “Summer of Love” and the imposition of consumption of major drugs by the governments of different nations, a majority of individuals altered the mechanisms of electric impulses in their brains, thus altering their core DNA information, transposing that data into next generations, we are not only talking about mediatic imposition but also organic, biological. Some called it evolution, others revolution. Borroughs referred to it as the “air-conditioned nightmare.”
W.K.—Yes, indeed. And in that sort of new revolution of information is that identity and originality, as well as appropriation of a particular work of art or writing has no point whatsoever. Authorship is not relevant any more in these days. I can impose myself to say that the Mona Lisa was of my creation or that The Call of Cthulu is an extension of my inner thoughts materialized in another time by someone who had the despicable action of labeling this piece of writing with his name. I was the one who invented that piece of writing, I conceived it and technology gives me all the strength to make it my own again. Life itself is a broad band and I am at the center of it. I can manipulate text, images, film, anything. I do it on a daily basis at my home, thanks to a MAC powerbook G4. Masterpieces of all genres now, more than ever, are being capitalized by cultures. The profit is not only economical, but transcendent. Governments strive to maintain culture at all costs and they are the only ones now permitted to destroy culture. Culture is a matter for manipulation, the more of it the highest powers have, the stronger they will become. My position is against these new forms of fascism.
G.T.—You’re contradicting yourself. You deny appropriation and authorship; nevertheless you do the same and seem to enjoy it. Wouldn’t you be a lesser degree fascist at the same time?
W.K.—Of course, I create out of contradictions, and that which has been my creation will soon be transmuted by another one. You see, it’s not just plain plagiarism, but a search of unstable reference to all sorts of things. I AM A CULTURE VULTURE; I live in the impossibility of grasping all sorts of data at any costs. I have to produce in order to become real, to be part of the information chain, I have to be there, connected and transmuting data, that is my action, my inner and outer activity, the only purpose. It’s not just being influenced or conducted by Plato and the origins of medieval mysticism, or listening to Tran Europe Express or reading Calderon de la Barca. I have to incorporate those senses into my expression by taking them and mutilate them, and having no shame in realizing that it’s nothing but another remix, nevertheless my own glimpse at these senses. Being an author is just a fétiche. The markets of publishing have become so overcrowded of authors of all sorts that it is irrelevant who truly wrote these products. What is relevant is the generation of sense in ourselves and its counterpart which is production. Virtual action and the production of text must be a right to all people, as well as denying this right and not using it.
G.T.—So then you’re just another victim of the system. You’re not a true transgressor. In the long run, just like your hearing device has demonstrated, there’s no longer belief or altruistic desire, you’re only in it for the money. How can you judge others and have the balls to call yourself a messiah?
W.K.—Contradiction is the main source of reality.
G.T.—Well, you’re still full of shit to me.
Fragmento del diálogo entre Georg Tatler y William Kinsy en Neuron #2, febrero 2001. La conversación centrada en neurología y su transposición a los nuevos procesos de información del siglo XXI, concluyó en un violento diálogo entre ambos especialistas cuando se tocó el rol de la medicina y la moral en el arte y viceversa. Tatler habría iniciado la confrotación al haber sido considerado "amateur" por Kinsy al referirse a un pentágono de pinturas que colgaban de su oficina en Ohio, y hacer una comparación algo forzada con los últimos trabajos de Yves Klein. A pesar de la impertinencia de ambos, el fragmento se mantuvo en el primer tiraje de este ejemplar, para ser retirado en una segunda edición de fines del mismo mes debido a problemas de republicación en el Reino Unido.
posted by girabel at 10:52 AM
2 Comments:
THANK YOU SO MUCH i always wondered where Brian Eno came up with the title for "taking tiger mountain by strategy."
you're welcome°
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