*What Comes After Farce?* and *The Anti-Aesthetic* - Hal Foster

Originally, a farce (which derives from the French *farsir*, to stuff) was a comic interlude in a religious play. A farce might be understood, then as an in-between moment, along the lines of a “morbid interregnum” between old and a new political order. At the very last, an interlude suggests that another time will arrive. - Human Strike: Claire Fontaine finds many of her resources in the historical archive “we go through the toolbox”, she says, in an echo of Gilles Deleuze on theory as a toolkit, “and we use what is needed, what works”. - ”Hegel remarks every historic fact and figure appear, so to speak, twice. First as tragedy, second as farce.” - The prevalent mode of art viewing today is an affective one. If Kant resumed the ancient question “Is the work beautiful?” and Duchamp formulated the avant-garde query “Is the work art at all?”, our primary criterion seems to be “Does this image or object move me?” - A thing whose values lies largely in it’s indexing of time. (frames old - art old/new - meaning new) - Certainly, a post-truth politics is a massive problem, but so too is a post-shame society. How to belittle a leader who cannot be embarrassed? Or to mock one who thrives on the absurd? How to out-Dada President Trump? And should we aim to add outrage to a media economy that feeds on shame? ---

*The Emancipated Spectator* - Jacques Ranciere

- "There is no theater wihtout the spectator (…) But according to the accusers, being a spectator is a bad thing for two reasons. First, viewing is the opposite of knowing: the spectator is held before an appearance in a state of ignorance about the process of production of this appearance and about the reality it conceals. Second, it is the opposite of acting: the spectator remains immobile in its seat, passive. To be a spectator is to be separated from both the capacity to know and the power to act. (..) There have been two main formulations (…) according to the first, he (the spectator) will be compelled to exchange the position of passive spectator for that of scientific investigator or experimenter, who observes phenomena and searches their causes. According to the second formulation the spectator must be removed from the position of observer calmly examining the spectacle offered to them, drawn into the magic circle of theatrical. - Such are basic atittudes incapsulated in Brechts epic theater and Artauds theater of cruelty.(…) For one, he must refine his gaze while for the other, he must abdicate the very position of viewer. (…) Plato's opposition between choros and theater as one between the truth of the theater and the simulacrum of spectacle. 'Where the audience confronts itself as a collective'. (…) But whats is in fact the essence of the spectacle for Guy Debord? It is exteriority. The spectacle is the reign of vision, and vision is exteriority, that is, self-dispossesion. The malady of spectating men can be summed up in a brief formula "the more he contemplates, the less he lives". The formula seems to be anti-platonic. In fact, the theorical foundation are borrowed via Marx from Feuerbachs critique of religion. The basis of both critiques consists in the Romantic vision of truth as non-separation. But that idea itself is dependent on Plato's conception of mimesis. (…) "What human beins contemplate in the spectacle is the activity they have been robbed of, it is their own essence become alien, turned against them, organizing a collective world whose reality is in dispossession". - Intellectual emancipation is the verification of equality of intelligence. This does not signify the equal value of all manifestation of intelligence, but the self-equality of intelligence in all it's manifestations. (…) Human animals are distant animals who communicate through the forest of signs. (…) ---

*The Culture Industry* - Theodor Adorno

- The schema of mass culture: Aesthetic semblance turns into the sheen which commercial advertising lends to the commodities which absorb it in turn. But that moment of independence which philosophy specifically grasped under the idea of aesthetic semblance is lost in the process. - Since the beginning of the industrial era an art has been in vogue which is adept at promoting the right attitudes and which has entered into alliance with reification insofar as it proffers precisely for a disenchanted world, for the realm of the prosaic and even the banausic, a poetry of its own nourished upon the work ethic. Goebbels then prescribed it in the form of an iron romanticisism for totalitarian purposes. (…) This education oriented towards the realm of the ideal towards (schöne und gute) ‘everything that is beautiful and good’ encourages the admiration for the heroic individual and glorifies the values of candour, unselfishness and generosity. (…) With every gesture.

© 2026 Raissa Braga. All rights reserved.Todos os direitos reservados.

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• Memória RAM: 128 MB (Muitas ideias ao mesmo tempo)
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• RAM Memory: 128 MB (Too many ideas at once)
• Processor: Super Fast (coffee-powered)
• Coolness Level: 100% ✨
• Local Disk (C:): Exploding with sensuality 🔥

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