Author dreaming of a future without censorship we have never got rid of.
It seems, that people don‘t care while it grows stronger again.
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| Umělec 1/2012 | List of all editions. | ||||
"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
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Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
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My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
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solutions
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Kenneth Goldsmith
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American history is filled with stories about how to hide chauvinism and expansion behind lofty ideals of inevitable fate, of a manifest destiny to settle paradise; how to endlessly, shamelessly, and by force expand the boundaries of one’s garden. Joyce Hatto, too, had a nearly unbounded approach to reality, making nearly 120 recordings of piano concerts in her life. One of England’s greatest female pianists – or maybe not?
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Post-Fordist working conditions wear a mask of openness, flexibility, and individual freedom. Criticism thus finds all the more difficult to achieve its objectives when it is literally attracted by institutions. Under such conditions, is it even possible to make art that is not part of the culture industry? Just like Kenneth Goldsmith in the opening text to this issue, these two British critics ponder the opposing tactics that, instead of attacking the concept of institutions, overpower it. Perhaps even art itself is built of nothing more than inertia.
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