The Museum of Vestigial Desire


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Bringing something into existence is the act of production. We stigmatise very few things. And one of those things is a break in the flow of production of content.

What is the main objective of our university? What does our model of delivering an initiation into a practice ensure? How do we deliver nuggets of information that can be compiled by the participants in the programme into an arcade of knowledge with a clear progression and completion framework?

There are a lot of possibilities for agents to take up positions. Of all these possibilities, which choices are to be made or which numbers are to be played often remains the biggest question. Religion became a popular excuse to suspend reason because the religious intermediary, the quasi-oracle always seemed to know. The penis-envy of confidence has always been aroused by other people who profess to be spiritually awakened, religiously guided or plain crazy. What should the lost and wandering tribes of the world do to learn how to choose? Where does insight emerge from? Is there some secret pathway to knowing what to do that is only accessible to the deviants? Does deviation from the norm guarantee some kind of clarity? Why can't ordinary people know? Why do they have to be inspired and awakened and creative to know? Is there nothing that flows in the narrow channels of propriety?

Choices require the most urgent intervention from actors. What to do? How to act? What to produce?

We make the choice unnecessary. If you are already doing something, if there is no break, you do not have to think. Making thought unnecessary is making choices unnecessary.

We look around and we see masses of delusion. We see an inability to thaw out of the ability to do anything. The stasis that has set in has to be countered fundamentally because production has been affected. The production of banal experience is no production at all. Banality is easily dismissed and rarely felt. There is no stone in the palette. There is no knot in the stomach, no glut in the throat. There is a particular way in which sound travels and that has something to do with the emergence of meaning.

Echo: Wherever you look, you see yourself. No mirrors have been placed no air has been cushioned. But still echoes emerge. The repetitions of sequences of content that get patterned into an array, after intervals of time, manufacture echoes. The illusion of hearing yourself responds to a sound that you are uttering in the present. The self-consciousness of an out-of-body experience that has been internalised by our television-watching brains is a factor in our flow of experience now.

We live in echo chambers and there is no friction to produce sparks. If sparks are not real, then neither is the possibility of fire. An infrastructure needs to be in place for the leakage of lubricant within echo chambers so that the conversation in the closed loop of self-enactment becomes smooth enough such that when disassociation happens, it is complete. The echo-chamber becomes the social space when multiple levels of echoes are able to inter-mingle to ambiguities context and container so completely that the ghost of self-parody totally disappears and all that remains is the break of unity.

Talking to a projection of the self and talking to someone who is not listening is the same thing. The former is more immersive actually. Sociality becomes interesting only when it is deep, shallow bodies with low absorptive capacity can never replace the elasticity of projection-allowing selfhood.

We look at production as zones of coherence that get produced from the constant re-synthesis of lived experience. So, you are doing what you are doing and suddenly you might become very good at continuing it in every aspect. Suddenly the hot air between living a false promise and the emptiness of disappointment disappears and you feel like just going on. You feel like continuing to do what you do and that is the instant when production becomes real for you and then you have successfully escaped the trap of justification and living the life of constantly reminding yourself of not leaving anything behind. The irrational vice of creativity chases spontaneity and the consciously-motivated portfolio-building at the same time. Better than the trophy of creativity is the potential for pathogenic production. Production being a flow of illness, of psychosis that cannot be shaped is an animalistic way of dealing with a semblance of complexity that is needed.

We need to model production of content in the same way as we construct the possibility of producing our life. Life, as an intertwined state of voluntary and involuntary processes, is fragile because of the inter-dependencies between subtle and gross processes and our lack of understanding how the states change in irreversible ways. It hangs in when it does. Like a balance performed, it is real when it is enacted and becomes immediately false on recollection and narration.

Either you are performing your own being and enjoying the surplus production that happens as a side process or you are stuck in a static delusion of getting somewhere.

We are all going nowhere. There is no possibility of becoming, no time to construct a future-tense; but even if it was possible we really have nowhere to go.

There is no platform where we will be able to set up a stable base of production.

We have to do it right here, the destination has to be re-calibrated to discount itself away. We have to feel at home in the doorway, in the passage, in the refugee-camp. The immediacy of production happening out of the ill-prepared moment that does not have the two-beat rhythm to perceive itself is absolute.

Interruption in this immediate production process is the only calamity. It is the only disaster that we cannot be prepared for.

We are not going to become rocks. We cannot become dry in our roots. The flow is necessary. And, we have figured out a way of institutionalising ourselves. A kind of mass extrapolation on the basis of the feeble hum playing in our minds has been possible. A singular mind constructed from replicating traits singled out from our own experience is going to be possible.

As a picture of stability we are also expected to produce coarse realities besides mental states and just content. As the radioactive force that acts upon bodies with our content and our presence, we have an indirect influence on the world of shadows, densities and weights but it is not useful for us. For producing a direct impact on the world, we enrich ourselves with some parameter of exchange. So we should get into a transactional bond with the world something which makes no sense for our vision and perspective to indulge in. We must out rationalise the imperative for the transaction to be defined. We stay away, we agree to be the distant ghost, the powerless actor who agrees to live on the surplus produced by the transacting masses. Sure, you work for your living and deal with the problems produced by doing that. But we live to be. We do not add anything more to the mix; do not define any further constraint or solve any riddle.

This is not renouncement, it is denouncement. We reject what we do not want to engage with to enable us to fulfil our ecosystem responsibility. The ecosystem does not require us to just be present. Our production process requires us to just be present. There is no conflict.

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