THE FUTURE OF THE EARTH IS NOT YOUR FUTURE.
The proliferation of cable television channels specializing in multifarious forms and genres of entertainment is not merely a result of technological progress, but an ever-obvious symptom of decades of collective ennui. Undoubtedly inspired by Kierkegaard's theory of "crop rotation" as a method of aesthetic diversion, Martin Heidegger pointed out in 1929 (over thirty years before the inauguration of the Internationale Situationniste and the politics of boredom) that the "fundamental attunement" of the technological, and mutatis mutandis informational, age is "profound boredom." Since "we have become bored with ourselves," perhaps with different backgrounds, in multimedia settings, on digital frequencies, we can again find ourselves, our own characters, interesting.
THE CROWD IS UNTRUTH.
We can choose to live with regrets and in quiet desperation, or we can follow the leads of cinematic individuals who responded to the pain and suffering of existence with their whole beings beyond good and evil. Here cinema and the jargon of authenticity overlap. Like Heidegger's notion of authenticity, affirming the eternal return "snatches one back from the endless multiplicity of possibilities which offer themselves as closest to one--those of comfortableness, shirking, and taking things lightly--and brings Dasein [existence] into the simplicity of fate." In other words, we can, like many, live a boring, derivative film with a bad script, or we can affirm ourselves, our own characters, in a super-diegetic existence which will play interminably. Just as art is a mission that demands fanaticism, so is life. "If, in all that you will begin by asking yourself: is it certain that I will to do it an infinite number of times? This should be your most solid center of gravity." By this rule, each of us lives as the filmmaker creates.
NOT EVERYTHING WITH A HUMAN FACE IS A HUMAN BEING.
The dissolution and thinking through of moral-amoral multivalences become increasingly too pretentious, too artificial, and not binding enough for today's mentalities. The trend hints at a more brutal way out of the tension, at an inclination to breaking loose, to massacre, to explosion, to catastrophe. . . . Fascist artistic release. Tense situations no longer call for mediation and defusing so much as for things to be blown to smithereens.