Not quite 3 but...........

Post-postmodernism witnesses the re-birth of utopia after its own death, after its subjection to postmodernism's severe scepticism, relativism and its anti-utopian consciousness. Here is what several Moscow artists and art scholars of the post-Conceptual wave have said about the subject: "It is crucial that the problem of the universal be raised as a contemporary issue. I understand that it is a utopia. It is done completely consciously, yes, utopia is dead, so long live utopia. Utopia endows the individual with a more significant and a wider horizon" (Viktor Miziano). "The future of contemporary art is in the will to utopia, in the break-through into reality through a membrane of quotations, it is in sincerity and pathos" (Anatolii Osmolovsky). The subject here is the resurrection of utopia after the death of utopia, no longer as a social project with claims to transforming the world, but as a new intensity of life experience and a broader horizon for the individual. Trans-utopianism, trans-pathos are projections of the same "lyrical" need, which transcended its own negation in postmodernism.

In considering the names that might possibly be used to designate the new era following "postmodernism," one finds that the prefix "trans'" stands out in a special way. The last third of the 20th century developed under the sign of "post," which signalled the demise of such concepts of modernity as "truth" and "objectivity," "soul" and "subjectivity," "utopia" and "ideality," "primary origin" and "originality," "sincerity" and "sentimentality." All of these concepts are now being reborn in the form of "trans-subjectivity," "trans-idealism," "trans-utopianism," "trans-originality," "trans-lyricism," "trans-sentimentality" etc. This new lyricism, however, is not the kind that surges forth spontaneously from the soul; this idealism does not proudly soar above the world; this utopianism is not like the one at the beginning of the 20th century, which aggressively sought to reconstruct the world. It is an "as if" lyricism, an "as if" idealism, an "as if" utopianism, aware of its own failures, insubstantiality, and secondariness. Nevertheless, these "trans" phenomena want to come to self-expression in the form of repetition. Paradoxically as it may sound, it is precisely through repetition that they reclaim their primacy and authenticity. Tired gestures, which are no longer automatized, as in the poetics of postmodernism, are replete with their own lyricism. In repetition, in quotation, there is a naturalness, a simplicity, an inevitability which is lacking in a primary act, born of effort and with claims to revelation.

As a rule, the destiny of originality is to be turned into imitation and clich=E9, allowing the clich=E9 itself to be perceived as a simple and unfor= ced movement of the soul, a new sincerity. Over time, postmodernism itself may be perceived as an initial and inadequate reaction to this aesthetics of repetition, whose suprising emergence seemed to demand a full anaesthetisation and automatisation of feelings. Gradually, as repetition and citationality turn into habit, they will become the foundation for a new lyric poetry, whose journey has its beginning and not its end in ironic estrangement.

If in postmodernism even the language of feelings was subjected to the use of quotation marks, then at present quotation marks have penetrated the word so deeply that each one of them, even without quotation marks, bears the imprint of all its former usages; it contains secondariness within itself, which is an imperative condition for the freshness of its repetition to be felt against the background of these former usages. When the word "I love" is uttered under these conditions, it means: yes, this is how Dante or Maupassant might have expressed it, but in the present case it is I who am saying it, and I have no other word with which to utter what is designated by it. Thus the trans-quotational word contains the presumption of guilt and an implict act of apology - confessing its own citationality, the trans-quotational word at the same time underlines its absoluteness, its non-substitutability, its singularity. It is an affirmation of "I love," although the same "I love" might have been uttered by Pushkin, Tolstoy, and Mayakovsky. The postmodern utterance of "I love" was masked by citationality as a loophole for meaning, in which the subject of language could shield himself from its literal meaning and its responsible consequences. At the present time, citationality, by contrast, serves as a trigger of meaning: the repetition is underlined in order to cross out banality. The word consists of a double layer - the quoted and the trans-quotational, which is uttered for the first time, here and now, thus opening the way for a new polysemy.

While the polysemy of postmodernism consisted of a multiplicity of levels of reflection, play, and representation, of quotation marks being superimposed on quotation marks, the polysemy of the era of "trans-" is of a higher order. It represents the movement of meaning in two directions at once: both the application and removal of quotation marks. The same word may sound like """"""I love"""""" and I Love!!! Like """"""Kingdom of Heaven"""""" and Kingdom of Heaven! The two dimensions of the text are inseparable: the removal of quotation issues from the depths of the application of quotation marks, just as resurrection issues from the depths of death.

Posted By: BSE Canary, Jan 23, 13:45:29