Black Metal Theory

Not black metal. Not theory. Not not black metal. Not not theory. Black metal theory. Theoretical blackening of metal. Metallic blackening of theory. Mutual blackening. Nigredo in the intoxological crucible of symposia.

  here

Marx After Duchamp, or The Artist’s Two Bodies by Boris Groys

Jeff Koons’ design for collector Dakis Joannou’s personal yacht.

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The economy of the internet demonstrates this economy of post-Duchampian art even for an external spectator. The internet is in fact no more than a modified telephone network, a means of transporting electric signals. As such, it is not “immaterial,” but thoroughly material. If certain communication lines are not laid, if certain gadgets are not produced, or if telephone access is not installed and paid, then there is simply no internet and no virtual space. To use traditional Marxist terms, one can say that the big communication and information technology corporations control the material basis of the internet and the means of producing of virtual reality: its hardware. In this way, the internet provides us with an interesting combination of capitalist hardware and communist software. Hundreds of millions of so-called “content producers” place their content on the internet without receiving any compensation, with the content produced not so much by the intellectual work of generating ideas as by the manual labor of operating the keyboard. And the profits are appropriated by the corporations controlling the material means of virtual production.
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Automatic toilets were invented to keep streets clean. - Nicolas Bourriaud

More from same author.

Look out for Metamodernism this year! we're making everything over_ inna romance

The postmodern years of plenty, pastiche, and parataxis are over. In fact, if we are to believe the many academics, critics, and pundits whose books and essays describe the decline and demise of the postmodern, they have been over for quite a while now. But if these commentators agree the postmodern condition has been abandoned, they appear less in accord as to what to make of the state it has been abandoned for. In this essay, we will outline the contours of this discourse by looking at recent developments in architecture, art, and film. We will call this discourse, oscillating between a modern enthusiasm and a postmodern irony, metamodernism. We argue that the metamodern is most clearly, yet not exclusively, expressed by the neoromantic turn of late associated with the architecture of Herzog & de Meuron, the installations of Bas Jan Ader, the collages of David Thorpe, the paintings of Kaye Donachie, and the films of Michel Gondry. (VIA) & HERE

The Spiral of silence theory

Crucial points to the theory:

1. People have a fear of being rejected by those in their social environment, which is called "fear of isolation."
2. People are constantly observing the behaviors of those around them, and seeing which gain approval and disapproval from society.
3. People unconsciously issue their own threats of isolation by showing signals of approval or disapproval.
4. Threats of isolation are avoided by a person's tendency to refrain from making a statement about something they think might attract objections.
5. People are more willing to publicly state things that they believe will be accepted positively.
6. The spiral effect begins because when people speak out confidently, the opposition feels a greater sense of fear of isolation and is further convinced to stay silent, since they are in the minority. The feelings continue to grow in either direction exponentially.
7. A strong moral component is necessary for the issue to activate the spiral.
8. If there is a social consensus, the spiral will not be activated. There must be two opposing forces.
9. The mass media has a strong influence on this process.
10. Fear and threat of isolation are subconscious processes.
11. The spiral of silence only "holds a sway" over the public for a limited time.
12. If a topic activates the spiral of silence, this means that the issue is a great threat to social cohesion.

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Paul Chan - Miracles, Forces, Attractions, Reconsidered

nice essay about (ICP)

"Fucking magnets, how do they work?"

a thought about over and over and over again

what if we think of hundertwassers theory of the "third skin"? according to hundertwasser there is a first skin or the one which covers our bodies. the second one are clothes. and the third one he claims, are houses and buildings we inhabit. now when we look at graffitti and especially at the example shown below, we see the "third skin" being renewed over and over again by Banksy and others. i'm just flippin, but think of the wall as a organic self organizing system. what does it consists of? smaller parts of course, something like the skin is made of. i think of cells.
now, we all know what cell division is. first of all its one of the major conditions of organic life. our skin renews itself constantly within a certain time period: the famous 4 stages of cell devision! remember? i had to learn about it in school. anyway, lets put these two thoughts together: hundertwasser's third skin theroy and cell devision. the wall would be then the skin. and the graffiti we see is the constant change of it.
Banksy heerin would be only a provider, a condition that guarantees the renewment of the skin, the wall. so he and all the other graffity artists cant help themselves they are the mitosis or a motor of the different stages of renewing the skin. the wall would be a system demanding by "natural" laws for renewment/reproduction. maybe we could even look at them (the sprayers) as cell cores who are parts of the fabric which produces an organic system made visble with spraycans, paint or other tools, whatsoever.
i can go even further now, being cell cores they would act from the inside of the system and hundertwasser would be wrong because we dont only inhabit theses skins, but we can also choose our "point of view" (inside/ouside). and graffity being very messy sometimes, looks like real organic parts that are inside of our body: ugly! thats also why grafitty in its own nature is so unsexy, comes "clean" or never obscene enough! like cell devision its a asexual reproducing system. we see the street as a blood line (f.e.gang wars, car accidents) the wall as blood vessel and the sprayers as chromosomes/genes...??

Hundertwasser - "Automobil mit roten Regentropfen"



graphic of an animal cell: