At some point someone may wonder what the philosophical part of this whole thing is. Of course, we can start by saying that there is a certain philosophy of, say, the art of this endeavor. But then we usually have left out the actual theoretical stuff, but when we then say ‘art’, most of us would look at what theory may be involved and put it off for the sake of the art.
I would say that then we have left ourselves to one particular conception of art. Many people would place this idea in a frame of ‘professional’ and ‘hobby’. Granted, this may be a hobby, in as much as I have no idea nor want of being a professional at this thing. In fact, it is the philosophy that takes this whole thing together, and not as a segregated object. It is the move toward some subjective authenticity that says legitimacy is gained by a capital recognition. Indeed, it would be nice to make some money on all this; but we will see.
Rather than default to some notice of personal expression, when we include philosophy as an art, we may find a singular expression that accounts for a world. Yet, in this way we do not have a world in which there is art, but rather we have the art that is the world, a world that cannot be escaped from, that is indeed philosophical. One could say that when looked at from the art, we have the object that is the theory of the art expressed, and from the view of the philosophy, we have the object that is art of the theory expressed. Not an individual in the world, but the world that is the artistic expression of what is philosophical, and the philosophical expression of what is artistic. When taken in a totalizing sense, we have the presentation of what is not segregated into objects, not theory and then art, or art and then the theory, but we have the art that is the theory and the theory that is the art. This phenomena, the subject that is always missed through its objectivity, is what the notorious theorist Slavoj Zizek has called a “Parallax View”.
In as much as the art might be presented as first in such a series, I call it the Covert Sound Philosophy.
And in as much as the theory might be taken first, its is the Philosophical Hack.
These encounter the real object as merely one view upon the world; thus we can come to an explanation of where Graham Harman and other new Realists come to theirs: They are oriented upon the True Object.
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