Elements of the Theory of Ghosts
There are various types of relations between activities and observations, things said and things visible in a world of total communication. And how do you find my poems?, the last titan of modernism asked the first dictator of the machinery century. — Divertente!, the voice of authority exclaimed. At the same time, the Austrian engineer breaks the language screen, watching through a hole in the sky a movie about the world history until the end. A conformist and a madman, a desire machine and a patient, a white man and a migrant worker — the existence of society as a system of messages depends on the parlance places management, requiring the variables in the ego / language function.
Everything visible speaks, but not everyone speaking can be seen: Ghostility is a special type of existence in the daily life of symbolic things. For the history of art, he is replacing cursed poets and the dérive situationists, walking about here and there. Ghost is an observer, free from the known restrictions: he can see through walls (of the authorities and the language) and talk with the spirits (of time and history), but his impact is limited with the physical movement of things. Being pure presence, ghostility is impersonal, but not anonymous, free from desire, but not without feelings; and being of Ghost more like metexis of ideas, rather than the obsession with the language of madness.
For virtual capitalism, the Ghosts are the unavoidable cost on the show society production, the dust on the glossy screens. But one can become a Ghost only through the social and economic marginalization. Thanks to the ghostility of an artist in the world of the culture industry, the art and imagination (as a way to interact with the language that is different from communication) form the augmented reality on the other side of power language teasers.