# "1"

**Published by:** [Pleroma](https://paragraph.com/@pleroma/)
**Published on:** 2023-04-27
**URL:** https://paragraph.com/@pleroma/1

## Content

They call me a drifter, they say I’m no good I’ll never amount to a thing Well, I may be a drifter and I may be no good There’s joy in this song that I sing Saddle tramp, saddle tramp I’m as free as the breeze and I ride where I please Saddle tramp, saddle tramp -Marty Robbins: Saddle Tramp (1959) It is on the outside that the authentically new is spawned. The sphere of disseminating and producing knowledge is ever increasingly at odds with the reality of our contemporary. Frameworks established over centuries are under threat of complete extinction under the sheer weight of cultural churn. We live in the age of the infinitely expandable, the endlessly multipliable. The only way out is through and the only way through is outside. The storm whips back and forth, ambient in it’s insistence on chaos and disruption. Agitation of our social norms through advancements in technology and slow refusal of common ritual have conjured up actors representing every possible position. Neo-conservative, Neo-liberal, Progressive, Techno-capitalist and Reactionary (among others) stand as mirror images on a battlefield with no definite ends. What they do not know is that our cultural vortex has not demarcated battle lines, but rather a waltz. Helpless to rationalize the contemporary condition, the answer has been to turn inwards. To take up positions that are somehow both discursively irrelevant and vexing to their counterparts. But the leftover and cracking foundations of the 20th century can not be hidden beneath a veil of half-hearted hand wringing any longer. Enormity in scale, beyond the comprehension of many, had led to a mass rebuke of the waltz. A rebuke of beauty and fluidity in embrace. Driving into the eye of the storm to be enfolded by it’s raw strength. To understand cultural production not as a passive, secondhand study of the past but rather the active juxtaposition of oneself to any one of the many, infinitely multiplying, nodes of influence. Leverage no longer lies in bureaucracy - titles and paperwork, but the ability to rapidly redefine and liquify a notion of ones own production. The rapid and massive interchange and convergence of information: data in the form of aesthetics, thoughts, modes of practice etc. has overtaken the detached and cursory way by which knowledge is obtained. The institution, in it’s inevitable goal of cultural relevance and survival, is in need of embrace of The Totality of All Opposites - a practice formed through an exploration of the margins, an invitation to the outside. A juxtaposition of actors, disciplines, thoughts and concepts. A new way forward in defiance of austerity - Pleroma.

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