Of the Good

It is precisely the vacuous-ness of the idea of the good which plays so hard in the context of aesthetics. In order to maintain the ubiquity of reduced identity and the liquidity of value within multinational capitalism, notions that constrain the nature of the aesthetic response have need to be empty. The good is precisely nothing, in so far as it resists, with false ubiquity, any determining context. It is constructed in order to avoid the sanction, good for whom? From this perspective the good, although pretending to universality, remains a formal trope, which invites the a-social fetish-isation of the aesthetic object under the rules of social, economic and political power.


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