ON
MNEMONIC THRESHOLD
Previous cultural forms have been exhausted
as self-consciousness has turned into self-enclosure. Self-expression has been
eclipsed by a field-network of interaction. So, the next phase in consciousness
will only come when all our attachments to the old forms and methods have been
obliterated. Everything has become transparent. Information bits flow in a vague
whirl while this proliferation, which seems to have no purpose, forms slowly,
imperceptibly, bit by bit, into a mass somewhere deep in the gray recesses of
the neural context; remnant whispers of a once dominant cultural form.
Congealed formation is in a state of information and dismemberment. Fleeting
solidity rips out and dissolves form from its old content, providing visions of
resolve and improvement over dilemmas left behind. Substance less collectively
reverberates internally, beyond intellect and will, in an inner-external
detoxification which breaks pop open and drains mythic consciousness of
authenticity. In our media-permeated atmosphere the search is to not repeat
what has been learned. The learned form must be cracked open through chaos to make
room for other views. Fast paced dumbness and reactionary codes are made
difficult and resistant to bourgeoisification. The logic of the image, of the
whole media society, of postmodernism in general, is satiated in an
overabundance and counter-fusion. One goes all the way through and comes out
the other side, ecstatic and covered in excrement. This hyper overproduction is
the space of refusal today. The only space from which to develop awareness, a
theoretical awareness, of the reification of consciousness. Are we at the
beginning of a new metaphor for the system? A Big Bang theory pushing us beyond
the vanishing point? A theoretical black hole? The aftermath of the dissolution
of form is not a reductive simplification. Rather, an analogy can be drawn to
the primordial plenitude, subject-object unity, or Benjamin's dialectical
image. The money mushroom cloud is seeking repose, as astonished eyes behold
the self-cannibalization of nostalgic fetishism. Distorted ideologies bubble
and burp their way to the top of the cesspool. Media adulation, commodity
consciousness, technocratic mind set, all collide and cancel each other out in
an orgy of fazed media mirages, a mindless bombardment of
consumption-consumption, resolving itself in an all-round social awareness.
Complete self-consciousness is meta-consciousness. Depth consciousness is
formed from the debris of superficiality and fragmentation. New neurological
circuits are connected, mutating consciousness. The characteristics of this new
neurological mutation are high velocity, multiple choice, relativity, and the
fission-fusion of all perceptions into alternate possibilities. From Overload
to Overmind.
Nechvatal, Joseph. 1988.
"Reorganized Meditations on Mnemonic Threshold" In M/E/A/N/I/N/G
Contemporary Art Issues, No. 4, November, 1988
Republished in M/E/A/N/I/N/G:
an anthology of artists' writings, theory, and criticism, Susan
Bee & Mira Schor eds., Duke University Press, 2000, pp. 354-355
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M/E/A/N/I/N/G brings together
essays and commentary by over a hundred artists, critics, and poets, culled
from the art magazine of the same name. The editors-artists Susan Bee and Mira
Schor-have selected the liveliest and most provocative pieces from the maverick
magazine that bucked commercial gallery interests and media hype during its
ten-year tenure (1986-96) to explore visual pleasure with a culturally activist
edge. With its emphasis on artists' perspectives of aesthetic and social
issues, this anthology provides a unique opportunity to enter into the fray of
the most hotly contested art issues of the past few decades: the visibility of
women artists, sexuality and the arts, censorship, art world racism, the
legacies of modernism, artists as mothers, visual art in the digital age, and
the rewards and toils of a lifelong career in art. The stellar cast of
contributing artists and art writers includes Nancy Spero, Richard Tuttle, David
Humphrey, Thomas McEvilley, Joseph Nechvatal, Laura Cottingham, Johanna
Drucker, David Reed, Carolee Schneemann, Whitney Chadwick, Robert Storr, Leon
Golub, Charles Bernstein, and Alison Knowles.This compelling and theoretically
savvy collection will be of interest to artists, art historians, critics, and a
general audience interested in the views of practising artists.