It is as if the metre, the standard set to measure cognitive and affective experience, no longer works. We see the same crisis in the fields of politics and history: social prosperity is no longer produced by labour time, but by knowledge, by a general knowing, by ‘general intellect’, and as a result social prosperity and labour time are no longer directly connected. The new standard to measure prosperity is within the domain of intelligence, language and collaboration. The problem is that social prosperity is still measured by the old standard of labour time, while realities have changed and it is actually determined by ’general intellect’. We can see the same thing happening in 20th-century art. It demonstrates the inadequacy of the old standards and suggests, in the formal sphere and through the formal work of poetry, new standards for the appraisal of our cognitive and affective experience. This is a point that brought the artistic avant-garde close to the radical social movement and in this sense there is a kind of brotherhood between the two: they would like to explain that the old standards are no longer valid and to look for what might be new standards. Another way to put the problem is: how can you locate a new public sphere, which has nothing to do with the state? Avant-garde art proved the impotence, the inadequacy, the disproportion of the old standards through a formal investigation. The common ground of art and social movements is never about content. Art that relates to social resistance is beside the point, or rather art expressing views on social resistance is not relevant. The radical movement and avant-garde poetry touch on the formal investigation that yields an index of new forms denoting new ways of living and feeling, which results in new standards. All this is far removed from a substantive relation.
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