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Consider a situation or configuration which is established by ordainments or stipulations or rules. The situation may belong to a genre which is standardized--a genre having a protocol which is standard or straightforwardly ascertainable. Moreover, the genre may have customary aims--although they do not have the force of requirements.
A constitutive dissociation (C/D for short) comes about because the instigator of a situation alters the aims of the genre from the customary aims. Since the traditional aims are foregone, the instigator can evade or replace standard protocol with an inscrutable protocol.
A message to my brother every 10 or 9 minutes – and otherwise coins falling out of the pocket. Embedded in the wall.
It seems that what Art can often do well, which other endeavors often cannot, is to provide the conditions for the dismantling of aesthetic regimes. By extension, that which reasonably can be called “art” is exclusively that which constitutes dissociation, and that which resembles a known instance of art is hardly art at all. However, if, following Flynt, it summons a resemblance of art in service of betraying the genre of art itself, it then reengages with the criteria of criteria-busting. But how to bust the busters? How does one make an art of art?
What is an aesthetic regime? We talk a lot about structures and governance. An aesthetic regime is a constellation of constraints on phenomenological experience. It’s the parameters by and for which we arrive at a judgement of the lived life.
To explore the contours of that notion we should also invoke Anarchism. Anarchism is a vector of uncompromising liberation within the matrix of democratic methods. It’s an adherence to a primordial social wisdom. Hydrogen is the most abundant chemical substance in the Universe. You can feel it in your mouth. I have ten different porcelain fish residing in the lower-left quadrant of my jaw. They behave pitifully; complaining of things neither you or I would consider dispositions.