CODA FOR A MOCKERY
Ángel L. Pérez Villén
Show must go on, the floodlights mindful
of the stage, the look captivated by the fallacy of fascination, the experience
lost by the saturation of the senses which inform us about what is happening,
the sleepiness conscience about to twist, nevertheless, show, must go on...
Life carries on and so does our existence; the immediate reality belongs to
us insofar as we can take it. But have we got any time to do so? Are we willing
to project on the surrounding? Would the surrounding be sensitive to our light
or give it back to us as if a autobiographical representation? Is reality
porous or polishing like the skin of a mirror? So many questions without an
answer do not stop the flow of time, and the pace of events indicate that
show must go on.
If life is dream and vigil prevent
us from strolling the fold of reason, we should cling to fate and try our
luck in the great theatre of the world, we should turn the page and build
with our luck the trick of art, we should invent reality, we should steal
its credibility and simulate consciously its authenticity because show must
go on... If, on the contrary, fact is superior to fiction, we should provide
a representation of the first that multiply its narcotic effects; if the critical
speech has decreased its public reception, we should leave ideologies out
and become immerse in the synchronism of praxis; if religion is the people's
opium, we should change our believes for the compulsive consumption: if the
individual water down in the social body and this in the Welfare State, we
should throw meat to arena and Bread and Circus!, because show must go on...
The information of reality the mass-media
give us is conditioned by the exercise of a discursive licence that discriminate
the data which are made of. This gives credibility to the representation which
is shown of it in a space, firstly appointed to the reflexion or even to the
questioning, and finally to admitting the allegation of a sanction, which
is a sophism or even a mockery; overlapping the emergency of contradictions,
eradicating the slander of a possible critical rereading and transformating
the reception into a spectacular fable. The illusion of the flaneur is created
among the relics of image, resetting its sense to instigate the will of possessing
it, of inferring from it what comes from its common sense, from its cultural
archetypes or from its holistic vision of the world; however as it happens
with every kind of illusion, it vanishes when we penetrate its sphere believing
we are experimenting the virtuality as if it were something tangible.
Show must go on, our disposition to
be a part of the game recommends it. Although we know the cards are marked
we don't reject the opportunity of simulating the defeat of thought, of holding
out the theory and accepting the nihilism on condition that we reject the
silence of the lambs. We are reluctant to stay changeless, we prefer to introduce
ourselves in the building of language and dynamite its performative core.
It is for that reason that we sign on every adventure which pursues to undermask
the representation of reality carried out from annexed devices installed in
the webs that control information. Against it, its reflection deconstructed
in a fragmentary and seemingly harmless image: a circus, some spectators and
the fiction of an idle and jolly speech. Show must go on. |