24/5/24

Organised thought exists through institutions. Journalists and academics tailor their work to the needs of publishers and universities – disciplinary architecture developed and shaped over time by market forces. 

So often, even where not deliberately doing so, apparently radical publications merely offer the fixations on which to displace revolutionary energy. We write, we read, and we consume in place of making action, or transforming ourselves into real forces for change. This text is one such example, and so:

Ditch theory – Go have sex!

This new revolutionary action is not organised, beyond immediate self-organisation between groups. It is a creative act which sublates Capitalist iteration of reality. That is to say, this new revolutionary action is defined solely and entirely – not by subverting the ideas provided by the social machine – but entirely ignoring them, and creating unreservedly, in lieu of them. This is a process or an act – rather than a state of affairs in itself, or state of being. It is not static, rather it is the precise opposition to static-ness. A revolution against crystallisation. 

This new revolutionary action is revolutionary in almost a precise sense of the word, it is defined by movement, and sublation – a string of annulments, and a continuous overturning of existing frameworks, beliefs, identities and ideas. 

It is important that this revolutionary action is not individualised. Where the individual is a framework, the revolutionary act rejects it. That is to say, this new revolutionary action is not something committed to, or done by an individual, through individual acts, but rather a holistic mode of engagement, which informs every act, to make up its broader process. This is because, after all, the world is nothing but connections between things – the revolution simply reorganises these connections, or redefines them.

And on this note, it is critical that this revolutionary action is done, not simply through the ideations and creations of art, science or academics, but instead, through real acts, and interactions between the de-oedipal subject and the world which they are embedded in. As the saying goes, the academics of the 20th century have done an excellent job at revolutionising art – it is the goal of those of us in the 21st century to expand this revolution to the wider world, not to be caged and subsumed by the machinic operation of media production and consumption. That is, the new revolution is to be led by real creative acts, the real sublation of real situations. Where the Capital defines bread as commerce, the revolutionary redefines it as something with multifaceted experiential potential that cannot be owned by anyone, or anything. Where Capital defines everything, land, food, entertainment, each as discrete objects defined by value and their ability to generate profit, the revolutionary redefines them as acts, experiential processes. Contrary to the sentiment espoused within the machine, the revolutionary doesn’t squat, or steal, because the revolutionary doesn’t recognise ownership – on which such terms definitions are built. And it is not based on the ‘self’ that the revolutionary does these things, but as a part of the broader perpetuation of social good – a series of creative acts so as to meet the needs of the world around them, beyond abstract values and definitions, an indistinguishable zeitgeist of good.

And it is in this same manner that these new revolutionary actions can create art, wisdom and information, not as productions to be pumped into the machinic media-informational dispersion system, but rather as direct immediate acts to build some communal good. That is, not to participate in the world of journalism, academics, literature or art as it exists today, but to create a new manner in which to do so. Art in a communal sense, as a creative expression existent within this new framework. Art, encompassing all the above things, is a natural byproduct of existence – it is the world expressing itself. To participate in art is pure expression of immanence, the copulation between consciousness, and that which it is conscious of, in the creation of new perspectives, modalities and frameworks. In this sense, art is an expression of existence as it is, as a process in flux. 

But to begin doing this, in a manner unsubsumed, free from constraint, we must reject all existing paradigms, as the ultimate progressives, and begin expressing our immanence, and impressing upon the world our creativity, as active participants.

You shouldn’t have read this far. That is to say:

Ditch Theory – Go Have Sex.