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MANIFESTO.


In the past several years, we have seen a growing emphasis on the aesthetic image as it is: all reflections of its being have been strictly perceived. Although conscious efforts have been made toward a new definition of actuality, none of these has created the image qua image: the net result had yet to be quantified within its limiting factors. Various strata of these factors were delineated by the earlier movements, particularly those of the '20s and '30s -- and yet a continuum of imagistic balance was only declared when the masses had received a windfall of alternating movements. Photographic grain replaces all possible elements when the selected continuum retains its original structure: art equals a precise control of neutralized surface in which can be viewed the shattered remnants of that which has been painted yesterday. It is to this end that all functioning imagistic deconstruction has been directed: in the purely imagistic sense, all can be ingested within a perfectly symmetrical attitudinal differentiation.

In the light of these observations it should by now be glaringly apparent that the newest set of factors, delineated as they were by a seemingly endless procession of carefully devised imagistic quantifiers, would be needed at the precise moment when the continuum presented itself to its generalized whole. Within these essentialized forms a given standard can be deemed immediately disposable when an opposition of forms completes the intended dialectic, for better or worse vis a vis the artist's clarity of consciousness.

Such was the outlook presented by several of the Post-Congestivists upon the advancement of arguments paralleling the retro-active attitudes most apparent in recent anthologized work.

However, the writer of the present observations feels a peculiar compulsion to alert the viewer to a point at which the differentiated factors could immediately coalesce; furthermore, imagistic factors, however intriguing, could lead to formulate a new continuum with alarmingly Neo-Synephrinist tendencies. It is in this context that one must re-approach the very distinctive problems appropos of the image, to which we can dedicate a newly contextualized formalistic intent -- adding or subtracting at will the veritable congestion of factors falling under these parallel categories.

The New Post-Congestivist accepts and re-creates the categorization of factors within the upsurge of new strata. When an accumulation of imagistic structures may block passages toward an incipient clarity, the congestion (an Ur-Phlegm?) may be directed in either way in regard to its non-positional elements. The New Post-Congestivist detotalizes the essential characteristics of his/her criteria for the neo-aesthetic formulation -- be it toward dissolution in the masses' strictly contextualized intentions; or, vice versa, toward an endless expansion of detotalized forms, taking into account oppositions of strata within which the totalization of imagistic structres can, and must, deconstruct itself.

(from "Remarks on Post-Congestivism: A Dialectical Oppostion" by J. Carlos Nueva, New Harvard Press, 1990.)


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