TEÓDULO LÓPEZ MELÉNDEZ, Writer and Journalist - Caracas, Venezuela
The literature takes the same path of the global reality: the writing is no longer a demonstration (ethical or aesthetic) to a demonstration. Well what explains Paul Virilio in The procedure silent when warned of the disappearance of geopolitics now replaced by a "cronopolítica", to highlight the emergence of virtual citizen of the world city, which is not a citizen but contemporary.
The very nature of literature is in danger, as it has assumed "the aesthetics of disappearance" to occupy the rules set massmediáticas that are nothing more than giving absolute priority to the notification. Clearly, as Virilio points out that the "modern art" was parallel to the industrial revolution, while the art 'postmodern' march with the language analog, with the techno-scientific progress, with the information revolution.
There is no doubt that the world is crazy. And the literature with him. If we seek to understand Derrida, we should say 'this is what happens, this happens. " So the literature has been placed in transition, "between what is absent and what is presented." In other words, literature has taken them to flee. The question is whether it will be so forever, if you've completed the literature as we have understood.
The future of literature can only belong to the past in the sense of change with new techniques and innovations possible with all the old mission to demonstrate, to create, in other words, go back to being art. This presence is found only in the old texts, of which we can say "is written to the old way," in terms of style or syntax, but where it survives the lure of a task at hand, accepting that it is not inherited given. Perhaps we should start from here: from a inconclusión and convince us that this domain of the demonstration will pass, as always happens every hegemony.
The world go very wrong and very evil walks the literature. You may not perceive the full extent its current attrition. We understand that there has always been disorderly and misalignments. Futurism unleashes his peroration on the machine booming of the industrial age.
What tele-media technology, the demonstration in that bitter melon characters without mystery, understood only as symbols of mass media, the granting of great literature to programs, to the fashions and the speeches of the screen-eye. It is obvious that the contemporary substitute for the man's now alert, moves into inert practice routines and everything that disturbs him is rejected as an undesirable intensity.
La literatura lleva el mismo camino de la realidad global: la escritura ha dejado de ser demostración (ética o estética) para convertirse en mostración. Bien lo explica Paul Virilio en El procedimiento silencioso cuando advierte de la desaparición de la geopolítica ahora sustituida por una “cronopolítica”, para evidenciar el surgimiento del ciudadano virtual de la ciudad mundial, que no es ciudadano sino contemporáneo.
The very nature of literature is in danger, as it has assumed "the aesthetics of disappearance" to occupy the rules set massmediáticas that are nothing more than giving absolute priority to the notification. Clearly, as Virilio points out that the "modern art" was parallel to the industrial revolution, while the art 'postmodern' march with the language analog, with the techno-scientific progress, with the information revolution.
There is no doubt that the world is crazy. And the literature with him. If we seek to understand Derrida, we should say 'this is what happens, this happens. " So the literature has been placed in transition, "between what is absent and what is presented." In other words, literature has taken them to flee. The question is whether it will be so forever, if you've completed the literature as we have understood.
The future of literature can only belong to the past in the sense of change with new techniques and innovations possible with all the old mission to demonstrate, to create, in other words, go back to being art. This presence is found only in the old texts, of which we can say "is written to the old way," in terms of style or syntax, but where it survives the lure of a task at hand, accepting that it is not inherited given. Perhaps we should start from here: from a inconclusión and convince us that this domain of the demonstration will pass, as always happens every hegemony.
The world go very wrong and very evil walks the literature. You may not perceive the full extent its current attrition. We understand that there has always been disorderly and misalignments. Futurism unleashes his peroration on the machine booming of the industrial age.
What tele-media technology, the demonstration in that bitter melon characters without mystery, understood only as symbols of mass media, the granting of great literature to programs, to the fashions and the speeches of the screen-eye. It is obvious that the contemporary substitute for the man's now alert, moves into inert practice routines and everything that disturbs him is rejected as an undesirable intensity.
