As faux-matheme, “Art + Law” is intended as a means of de facto critique plus departure’s gate (diagnosis and hoped-for antidote) to the toxicity of cultural production under the spell of late-modern, algorithmic capitalism. Its main tenet, as critique, is to develop a new ecosystem for works of artistic scholarship with no relation to Capital. The primary gesture of this dialectically constructed oppositional-appositional position (temporal and futural, at once) is a “no rights” idiom for the editioning of works in the Arts and Humanities. The hoped-for antidote, inclusive of actually existing collegia, is to be developed across bespoke works versus across mere empty rhetoric and/or newly minted, radical-chic posturing. As such, it is also meant to be developed through lived experience – viz., across serial failure, occasional victory, and/or a generative and aleatory model that includes the elective abdication of conventional authorial privileges without abandonment of works per se to the ravages of the cultural commons as currently configured by Capital. Incessantly anti-capitalist, such a position is also provisionally “nihilist” (scare quotes required), yet only nihilist in relation to “all of that” (i.e., the degradations, biases, appropriations, etc. associated with what has come to be called the “art-academic industrial complex”.)
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