Writing – art as a survivivore creature. Not inside the book’s covers. Not the set in, but the set out.

agon-ia

A predator hyperreality questing for dimensions to-be-discovered. It creates virtual reality (a certain core-space, a public one) to transform it into physical reality’s feeding experience. No more eye-endowed with readers, but a mouth-blessed with, contradictory consciousnesses to boomerang into the predestination’s camouflage of finitude where our mind may have previously preferred to dwell in. The abolishment of the protection shield – no more hostility, but a trophic chain of energy. No more pulling poetry from its darkest territories to throw blinding light upon it, but the preservation of its tenebrous process of feedback luminance.

The psychosociologist A. Muchielli had launched the theory according which “Influence is a 2nd degree communication.” The communicational processes theory is based on the conception of the sense and uses an extensive concept of communication where the interrelations with the receptors of a cultural product are crucial for multiple contextualizations. Therefore, the cultural product may allow polemics at its south pole.

There is such a principle of the test of will of the writing process. For Harold Bloom, the term “agon” renders the conflict arising from the anxiety of influence (the word “poet” may be replaced in his opinion with “artist” given the fact that he has to fight even with his predecessors who might have been his mentors). In “The Anxiety of Influence”, Bloom develops a model of Gnostic and poetic knowledge compounded of three elements: negation, evasion and extravagance. It is thus revisionism, and not repression or sublimation. A spirit portrayed as agonistic, as contesting for supremacy, with other spirits, with anteriority, and finally with every earlier vision of itself.

agonist versus antagonist

Opposing forces, conjunction – a mythical alchemy.
A coincidentia oppositorum applied to a territory of literature. Restitution of power. A capstone considering the primitive agony (suffering, torment). No more hostility for self-protection.

Lorenzo Peña had devised a coincidentia oppositorum which demanded that “we do not favor neither affirmation nor contradiction, but equidistance” (neutrodiction and contradiction being for him the two faces of the same medal.)
Even if this opposition could have co-substantiated those poles, there may be more energy in a superposed oneness. “Whilst being all, it is none of them, in other words, it is once maximum and minimum of being.” – stated Nicolaus de Cusa in “Of Learned Ignorance”.

Then let’s not say contrary, let’s welcome the reverse (a configuration’s disponibility to change from one state to the opposite state, within the same tides.)
Now back to the hyperreality that blurs the line between what is “real” and what is “virtual” and makes it reappear as “natural.” A wise revisionism wherein the primitive forces tamed in the name of the hunger are willing now to no longer discriminate a spiritual evolvement.

archetype versus anarchetype

We still get to keep writing in that camera obscura, instead of putting it under a large reflector, to blind it. Its upside down image could emerge any moment now. An antidote for the chimera of perfection. As Northop Frye had once envisaged the writing subordinated to “a technique of disintegration”, to be able to extract feeding sap from its own reverse, a destruction of the norms.

The opposition doesn’t arise from the real and the virtual clash, but from the tension between the archetype and the anarchetype, sharing the same reality.
No more suspended life (already dead, if we view it as a fixed model with a principle of closure completeness wherein a central nucleus should revolve attitudes around like a solar system).
It’s high time for a hermeneutic concept: the anarchetype (as Corin Braga had wished to differentiate it from “the anti-archetype”. It doesn’t oppose life to death, to praise survival. It has in fact quite a mythical tinge of Christian resurrection: it is survivivore.

The anarchetype has an open, extensible shape, that prolongs itself without depending of a gravitational centre. Its sequences may grow distant even upon the most unexpected territories without endangering the nebula they are part of.

Writing is a black hole. Alive even in its anti-matter.