Leibniz introduces the uncertain space of apperception.
This can be related to the sphere of art and aesthetics.
Perhaps it is the prefix ‘a’ that is especially pertinent?
In the sense of ‘no, not, without, away from, negative’.
Apperception represents a displacement within perception – not a negation so much as a reflective doubling. (But perhaps also the possibility of a doubling of cognition).
Art as doubling – the doubling of any action.
Not quite repetition, because all codified action is in some sense repeated.
But rather doubled to introduce some element of distance.
Mimetic doubling, expressive doubling.
Intoxicated loss only becomes art when it obtains form?
Significant form is that sense of art obtaining a concrete reflective shape.
Not necessarily mimetic reflection – though it may be – but more a formal reflection, a structured pause that moves away from the thing, the event, the experience, the thought itself.
Although there need not be a referent as such.
Art finds means of distancing and displacing – it partakes of this motion, even if it cannot exclusively possess it.
I cannot avoid thinking in a modern context where the separation is as much social and political as it is formally determined.
Social practice introduces a displacement within the fabric of all kinds of other modes of action and sense-making. This displacement affects both art and everything else that it engages with.
Asocial Apractice – distancing both the social and the practical through an Aart that refuses to remain separate and ineffectual. All categories are questioned, but in such a way that none are directly undermined. Art retains a capacity to pause and displace, while social practice, even if staged, is nonetheless conceived as real and consequential.

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