Steppling looks at theater, architecture, post-modernism, Freudian and Jungian psychology, the art scene, fine art, photography, Hollywood, propaganda, education, all the lower forms of capitalism, all those devolving collective dendrites of a culture preened by cultural gatekeepers and the models of each generation’s tragically hip pseudo thinkers, all those posing intellectuals.
The crucible of Steppling’s galvanizing thinking is tied to what is authentic artwork, what is the concrete thing that is the spontaneous creative gravity pulling forth this flash-point of the highly creative, which is at the same instance a series of contradictions that make the process magic and concrete.
Edward Said calls this the undefined time and place. Steppling adds, “These are the contours of the imagination. We hear, we invent, we are deaf – but all of it is engaged with, and absorbed.”
A review of John Steppling’s new book, Aesthetic Resistance and Dis-Interest
By Paul Haeder
Source: Dissident Voice
it is through mimesis, (identification with the mirror image) that one gains a sense of unity, self-containment and mastery over the body. If that was all that there was to it, humanity would be condemned to dwell forever entombed in the hell of mirrors. However, the identification with an Other in the mirror opens out the possibility for symbolic thought.
The beauty of ideas and words and sculpting frames and philosophical groundings is that we in Western culture having nothing more challenging than the numbness of a consumer-wrecked world where crass hucksterism and financial voodoo wizardry – even with its nuclear tipped propaganda, surveillance…
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