ART AS ANTI-PRODUCTION

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Labour becomes productive only by producing its own antithesis (that is, capital)” Karl Marx

Let the artist not kid him/herself: no matter how much the artist creates, he or she does not produce. In order to produce, the artist must find an agent of production.

The agent of production is that which produces nothing itself, but knows how to turn the creations of others into commodities. The agent of production may be a capitalist, or it may be the State, or it may be an antithetical Mr Hyde character created by the Dr Jekyll artist himself. In whatever form the agent of production appears, once the creation is turned over to the agent it loses its autonomy and the artist loses his/her freedom in relation to the work. Even in the latter case, where the artist (anti-producer) becomes his/her own agent: a stress is produced on the artist’s creativity. The marketing of art, in any fashion, produces a stress on art.

The labour of art is, therefore, essentially unproductive. Art only becomes productive when the agent takes hold of the creation and produces it, i.e. turns it into a marketable commodity. In his or her essence, the artist remains an anti-producer; an outsider to the economy; an economic aberration in fact.

The fact that art can survive at all in an economic-political society is an indication of its enormous strength. In theory, it should have been made extinct long ago by both the capitalist and socialist systems that are both so deeply immersed in the politics of production.

Not only is this great anti-producer Art a tremendously powerful human drive and social force, it may also be a marker showing us the way to a post-production society in which capital, perhaps even the monetary system itself, has been rendered obsolete.

In fact, all truly positive, purposive political and social thinking will need to analyse the creative and unproductive force of art in order to revaluate and recreate the positive human society that we are all crying out for. The answer to all our problems lies in the anti-productive nature of art.

THE ULTIMATE REASON

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There is an anecdote, told by Peter Sloterdijk in Neither Sun nor Death, that a rabbi taught that the Creation was attempted twenty-seven times before finally getting it right on the twenty-eighth experiment.

Let us imagine twenty-seven Big Bangs, creating twenty-seven kinds of universes that were all incapable of spawning a life form possessing self-awareness and intellectual perception of the universe that enveloped it. Without such a life form these universes themselves did not really exist and the rabbi would have to trust the Creator’s word that he had actually made these things that were never perceived by anything except Itself. Only the twenty-eighth Creation, this one that we perceive, has been successful, because the primary definition of a successful existence depends quite simply on the existence being perceived.

We are not the end-result of Creation, but the end result may have to come through us, or through us and through other Sapiens species with a similar capacity for sensing, learning, understanding and teaching what is known. The reason behind Creation has to be in its self-discovery – discovered by what Itself has created. This is not a question of intuition of God or of a faith and belief in the dogma of religion, but of a complete and unambiguous understanding of the Universe in which we are.