'The ultimate supremacy of Progressivism is no longer secure. Not only can it be hacked, it deserves to be hacked, by freethinking, darkly enlightened, heretical, reactionary artists.' -- provocative essay on the future of art by @parallaxopticshttps://parallaxoptics.wordpress.com/2017/02/22/towards-a-contemporary-art-of-the-right/ …
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Sounds a bit like wishful thinking by the adherents to me
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The piece was originally written in the immediate aftermath of
@realDonaldTrump's confirmation, in response the exquisite, existential status threat clearly perceived by good progressives, who sincerely believed that Potus = CEO of the country. -
However, the core ideas date back much further, to my initial encounter with Moldbug circa 2011. At the time, the Neoreligious structure of the Cathedral appeared to map so closely onto the contemporary art world (CAW) that the insight was trivial + there was no audience for it.
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Scroll forward to 2018, and not only is there an audience, but a nascent strategy for opposing the CAW via an iconoclastic assault on the aesthetics of the elite status quo. The CAW is a highly policed ideological space, but an Inside presupposes an Outside, and it is towards...
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...the low-hanging heretical fruit of the Outside that our eyes are turned. We look to the past only for forms of organisation, of patronage, of constellations of aesthetic shelling points, not to recreate it, but to destroy the aesthetics of the prison of the Now.
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It seems to me, like you mention, that crafty/skillful art always has the disadvantage that it takes longer to make. So even if there is a movement you would need to scale with n geniuses, so I suspect it will be hard to scale.
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... at least if it is really the craft that is to add value.
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I discuss these interrelated aspects across a series of posts, especially relevant are the ones on Neoreligion, Left Singularity and Iconoclasm. Unlike many on the Right, I am not a restorationalist.
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