vulgarizations: counter-text to profanations by agamben

genius

theres an association between birth and bloodlessness, where generation requires a non-hostile view of life and its principles so that it denies sacrificial rite. birthdays have been over-positivized in american culture as a landmark or a passive celebration, even maybe a righteous position to inhabit, like the birthday is the day in which you honor yourself by right to your own ego, which itself denies the act of creation itself, which in contemporary western culture is tied to deficit, rituals of self-sacrifice and loss of autonomy such as sleepless

nights before an exam, or creative purges, singular events of creation over sustained effort, which through the guise of productivity is heralded as a consistent act of maintenance rather than generation. western myth actually held the arcane and mysterious aspect of generation on one aspect by deindividuating it (handing it to ai automation) and on another hand by stripping it of its worth as something consistent with labour, re-mystifying its latent function of deindividuated essence, or mystery following character non-linearly and non-effectively.

emerson speaks of genius through individuation as a form of spontenaeity in habit-formation, "perceptions are fatal", in that it has drawing-power as a non-acting limit of destiny, but also generation as a form of complicity to universal pulling-power, to believe and therefore act on what you consider true in your private heart, in a sense hyperstitiously to enact it onto the world. this is where the paranoid trajectory correlating genius to ego emerges, following the understanding of genius away from dramaturgy and the creation of things indebted to the inexplainable insides of the generative complex, and into the idea of following it is a virtue which projects it outwards. novalis in pollen describes this condition as an "overcoming of persona" or otherwise a person of two powers, linking generation with the power to be watchful and observant of oneself, to the daemonic - "to whom the body is that which the soul is to us" and not just to the "trained" in the schiller sense of the inability to possess a certain higher talent. genius attains its more traditional reading as an origin-point when emerson uses it cosmologically with a capitalized "g", and affectively with a small case when relating to imagination as infinite consciousness posessing the individual.

origination is the key to unlocking a deeper understanding of humility in the context where humility leads to the idea that the unexpected and unmeasured exposure yields the greatest benefit. conviviation - the constitutive interdependence of life projects - depends on the transductive chain essentially opting out of models of high intensity recognition and into intentionally saturing meaningful energies with mystery and unapproachability. the new ontological world-power known as "data" simply opts out of comprehending genius, if it is to be taken as a proto-philosophical generative power of infinite imagination that protects away from self-infringement or imposed forms of generation and reidentification. however, identification itself, given it is regulatorily limited, often times is forced through enshittification to create its own standards of being, basically a practiced model of self-reinterpollation, or the blurring of actor-acted relations so that it can maintain its own logic through self-inference. in that sense, what is monitored requests itself to be, what attempts to escape logics of capture intentionally obscures itself, but as a consequence of avoiding recognition its mediative quality, and therefore, influence, is substantially lowered in its stead.

agamben does gesture to the genius as if it were a mix of cosmic time and schiller's grace, in the sense of, unabided actions sitting neatly between character and genius, or between all the modes that allow us to express ourselves unwillingly yet in the most autonomously non intentional way of beauty or fascination and so fourth, yet, genius retains also that romantic aspect where it is characteristically "above the fray" when in the end its juxtaposed with learning the "true banal gestures" of yourself as an old man and so on, vulgar or profane contemplation. in fact, it seems to me that for him it actually removes certain romantic aspects more characteristic of the virtues of genius that arent pretentious in nature, such that he creates a metaphor for genius as time, rumination, character, play, hiddeness and non-recognition, but never arrives to genius through its actual animating power, past the idea that its generative frequencies are both a cutthroat scaling of personification and a cosmological animation of origination instead of virtue-signalling pscyhologization.

the deana, the soul's mirrored angel is a false revelation, in that, it would be almost uncanny to a see a baudrillardianized, pornographied double-cliche of your own animation in real time. in that moment, you should either expect the terror of the total truth (the nightmare chasing scenario that feels inevitable, in a fated way that mirrors the determinate intensity of terror as a feeling) or to simply find it laughable that something could think to unlock your deepest essence. no, to agamben it is the deepest essence, but then again, when it presents itself as a reflection, it loses its power of animation. agamben doesnt want it to be obsucre but only mysterious and incapable of attaching to autonomy, which is fine on its own, although this also makes genius a de-cosmologified process in a sense. the idea that the genius attaches to the figure of burdened confusion makes it poetic in novalis, but agamben stresses that the poetic connotation is one step divorced from the true drama genius encapsulates through originary quality.

a de-pscychologized account of virtue (not to be mistaken with his more explicit de-psychoanalyzation of it) deanimates the type of barthian myth of the einstenian brain and the way in which genius is thought to be both a physical property and a mental process of sudden unintentional inquiry, but retaining that aspect that pushes it into b-chulianism (or rather vice versa be-chulianism being a copy of agambens sacritization of time) serves to lose out on what is characteristic about genius that isnt about sacricity, grace and pre-individuation more generally. genius does not manage to take a unique account in this work, because it is constantly being juxtaposed with realms that retract to it, when at the same time this account of genius is attempting to protract it forward as a concept?

magic and happiness