TAILIEUCHUNG - The Time That Remains, Part II: How to Repeat the Avant-Garde

By being lumped together with theories that superficially resemble it, TSC has mistakenly been criticised for reductionism. For instance, theories that focus on the role of perception for creating and experiencing art tend to do so at the expense of isolating artist, artwork, and viewer from their social, ideological, and historical settings (Dengerink Chaplin 2005). Thereby facts about how the historical context shapes perceptual experience are ignored that are vital for understanding art in symbolic terms, as a social and cultural phenomenon. However, in taking a broad perspective on cognition, TSC repudiates any attempts to account for cognition in isolation. | Continued from The Time That Remains Part I On Contemporary Nihilism in issue 28. To live is therefore also always to experience in the past the eternal amplitude of a present. - Alain Badiou1 Sotirios Bahtsetzis Remains Part II How to Repeat the Avant-Garde Is there a way out from the compulsive repetition that is symptomatic of our times Boris Groys has defined the specific artistic gesture of the universalistic messianic avant-garde through what he calls the weak gesture of avant-garde in opposition to the strong gesture of historicism as a form of domination in official culture. The avant-garde is not something that occurred once but something that must always be repeated precisely because it has been incorporated into the forgetfulness of historicizing culture and its ideology of progress. In this regard the very notion of repetition or even re-volutio understood as the circular temporal movement enacted by a self-repeating gesture is inherent to the For Groys it is not enough to reveal the repetitive patterns that transcend historical change. It is necessary to constantly repeat the revelation of these patterns - this repetition itself should be made repetitive because every such repetition of the weak transcendental gesture simultaneously produces further confusion and so forth. That is why the avant-garde cannot take place once and for all time but must be permanently repeated to resist permanent historical change and chronic lack of To repeat here means to retaliate against historicism and against its devastating influence. Applied to the avant-garde this notion of time enables US to retain modernity in our present as a soteriological device one that may transform chronological history into suspended Returning to the concept of revolution as already inherent to the avant-garde we can further suggest that the revolutionary gesture of avant-garde repetition is only the assertion of a specific subjectivity. Giorgio Agamben in his .

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