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Cultural Production of a Generational Perspective [or What is to be Known of a Painting]


The contemporary state of cultural production has become stagnant, strangled and made impotent by the subjective quasi-conclusive spectacle of the parties involved. Art, the definitive explanation being left unmentioned, upholds inherently within its conceptual structure a formulaic expansion that can be molded and manipulated to fit any form. However, economic, social, and political happenstance cannot become a mode of spectacularity in and of themselves. They are dead ends grumbling eternally over their own faulty conception and pre-destined obsolescence. A refreshed culturally-critical perspective must be formulated; the guidelines as expendable as they are expandable. Theoretical assumptive mythologies have been quandaried for their material fabric for long enough — that is, at least according to academic routine — and thereby require a replacement receptacle of action and reflexivity, and essentially to unify culturally-productive-structurally—integrated sub-objective desire-as-realities.

The plastic arts stand as a model for a time period the serious artist must realize as intrinsically nostalgic and memorially-blurred, that is, foundationally based upon a relationship to history which is auto-hierarchically designed and universally subjugating. These relics of cultural production should only ever be considered educational indicators of a physical and visual history that reflects a particular moment within the society’s memory of time, and therefore intrinsically contextualized to a particular theoretical atmosphere in which to explicate concurrent media manipulations. Technological, Literary, and Abstract modes of thinking must be recognized as having their own subjective histories of evolutionary progress which only peripherally coincide with the creative or artistic reflexive history and exist as neutral counterparts within the unified history of human existence.

These lessons in cultural-production historical perspectivalism are in excess; a resource which can itself be continually exploited. Detourning, gleaning, mis/appropriationing, etc.; these all are merely creative conceptual plagiarisms relying upon preexisting conceptual-experiential structures to formulate renewed critical and creative potentials of expansion and convolution. The emphasis of artistic production must thereby shift in focus towards its constituent parts (diagrammatically, geometrically, situologically, or under whatever intensified focus is most fitting to the contemporary conditions) in/outward of its process, functions, and justifications. Artists no longer have a formulary progression to use as a crutch through the monotonous acclimation of banal self-deprecating subjectivities and intentionally-delusional expressivities.

The algorithm for reflexive abstraction.

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