Passport to Infinity: Self-Revoked?

Art is nice, y’all. It can celebrate the Viewed Aesthetic or goad the Unorthodox Beast. It can be a vehicle of the heart or the leid of despair. O the limitless potential we see when time-space works unrestrictedly. But what happens when leaps of imaginations fall short? To bridge the chasm of irrelevance we see Lenticulation of the Spectacle as automatistic face-saver [or a Band-Aid™ on Breton’s Boo-Boo, if you will]. Here is where we see the self-revocation of artistic opportunity from the 4th-dimensional realm. [Quantum Betrayal: “Shirking the Spore”] The Triumph of Gesture over actual meaning, like Saussure gone on a bender, reduces the spectacle to two dimensions [the ontic end-all Self, and the content-less dada Act]. The Heroics of Self are fêted as mere obnoxiousness is touted as a Courageous Act. Hollow pantomimes replicate like anti-spores drifting off a bandwagon driving in circles. In this, as is evident to even the layman, Art Cred is compromised. Actors may shrug shoulders in an emotivist defence, or reflexively shriek at the Critic, mistaking them as Censor 4 tha Man. But in the end, a lack of the Thumotic Assertive, coupled with an infinite allowance of empty signifiers (and a reliance on spongy affectations meant to soak up free-floating memes) results in mere pogo-ing atop an empty soapbox... a flushing of potential... and a shredding of the Infinite Passport itself.

This has been a test of the Emotive Response System. Defensive plaints about “artists’ rights” are expected but moot. The exercise was merely a placement test for identifying Gesturing Husks in reduced dimensional contexts. As for smarty-pants pointing out that this test is equally guilty, the authors must clarify that using postmodernism as a means to end postmodernism has always been an openly stated foundational tactic of the ERS.