Post -Title

Something from Lee Lozano's journal:

"Information is content. Content is fiction."
-- Lee Lozano, July 1971

Something about the power of individual words to frame the field of the subject leads me to thinking about the relationship between nihilism and the grotesque under the possible rubrics of something like 'negative transcendence'. Now this isn't too far from Adorno's 'negative dialectics' as far as I can see, or it at least seems related in a sense:

Adorno says the book aims to complete what he considered his lifelong task as a philosopher: “to use the strength of the [epistemic] subject to break through the deception [Trug] of constitutive subjectivity” (ND xx).

As Simon Jarvis demonstrates, Negative Dialectics tries to formulate a “philosophical materialism” that is historical and critical but not dogmatic. Alternatively, one can describe the book as a “metacritique” of idealist philosophy, especially of the philosophy of Kant and Hegel (Jarvis 1998, 148–74; O'Connor 2004).

Now looking at it all again, I have to say, in terms of 'Trug', it would do one well to consider Bruno Latour's 'Practical Metaphysics', so in that sense, the grotesque would then be that state of affairs in which trugness lends to human matter its flavor of 'socratic irony', but to push the thing further, the so-called 'strength of the [epistemic] subject' would be something like the equation 'as one approaches infinity', so that the understanding of the singularity is absolutely confounded by uniqueness, by the infinitesimality of reality, but further, of a break with the logic of language's social continuity as ruled order, and an entrance into language as constructionism, or an infinitesimalleability which seems completely compossible with neurophysiological combinatorics, ie plasticity as the reverse-engineered ur-form of culture as subjectivity.

Most often in discussions of the so called 'technological singularity', there is a sense of a process gone awry, of an unnaturalness leading to a critical, or qualitative urgency, when life itself bears the mark of this same contingency.

I would therefore contend that a new movement could be founded called Grotesque Nihilism, and that actor-theory vis a vis practical metaphysics can be better explained as syntaxis, the materioconceptual impetus of being's 'indexical moment', for history turns on such moments. Syntaxis is the primary execution of the constructionist present as event. All willed events have, as least as a component, some motor of syntaxis, though materiality itself intervenes, and most importantly, syntaxis is a cognate to materiality itself.

Or maybe this is just a drawing of a cock in your mouth, or a burning turtle named
Zeno. Content is friction.

No Title

Lee Lozano, 1962