For the accurate and excellent examination of my collection, I thank Cipriano Gentilino: in a world dominated by ego-centrism, giving “voice” to other artists in the art community is an index of solicitude and empathy toward the other-in-the-world. Theoretical clarifications regarding the doubts signaled, with extreme fairness, by Cipriano and discussed with Alfredo Rienzi: «But the risk is that his own discourse, however self-critical, does not escape the logic of the “conducator,” as he defines himself, and it is precisely his figure as a charismatic and polemical intellectual that fills the space of the “I”» [C.G.]. How to neutralize this risk? The Kolektivne NSEAE is one and triune: collection/movement/current. Ivan Pozzoni, as the leader (conducator) of the militant hijacking movement KNSEAE, has exclusively a right of veto over the decisions of a Prezidium (15) representative of the various geo-political areas gathered in assembly (3000); Ivan Pozzoni—as a Late-Modernist artist—is a tribunus before the art community, like every other artist in the international art community. The χάρισμα (charisma) of the leader or the artist is not ego-originated: it is legitimized—like a tribunus with the concilia plebis—by the art community itself. The conducator does not de-cide: he educates the Prezidium and the art community (reciprocally) through his right of veto. «However, the need to continually redefine one’s concepts (clarity, participation, anti-pòiesis) risks leaving the reader in a limbo between utopia and unfeasibility» [C.G.]. The magmatic nature of the movement and literary current (in its nascent state) will tend, over the centuries, to stabilize: the KNSEAE—as a Late-Modernist literary current—is not utopian (like the prevailing modernist lyric/elegy that describes a “place that does not exist” in seductive terms) and it is not dystopian (like certain experimentalist currents not directed toward πρᾶξις that perform a bad place in negative terms): it is a-topic (active/interventionist Late-Modernism performs in uchronian terms a non-place—the Baumanian no-where—that exists). The reader remains firm in a dystopian world. «In some cases, irony becomes cynicism, and the language becomes programmatically brutal, to the point of bordering on a social pamphlet. This strengthens the coherence with the proposed poetics, but limits the experience of practicability and thus the empathy toward the courageous attempt to think a new ontology of aesthetic experience» [C.G.]. Late-Modernism is comitial concionalitas, invective, neologism, the exaltation of trash, the extreme vulgarization of ordinary language, and, with its conception of art as “social interaction,” it attempts to introduce a militant and military hijacking block. Such a block is intended to cease all bureaucratic aid to the seductiveness of “elegiac poetry” and to the extreme ὕβρις (hubris) of the “amateurish self-language” of Rubik-epigonism, in a situation of a saturated market and verses, with a six-month expiration date, destined for the incinerator without ever being read (a vacuum of meaning). The solution is not a new aesthetic ontology, close to the old modern aesthetic ontology: it is a new engaged aesthetic socio/ethno/anthropology, far from any dystopian performativity.
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Ivan Pozzoni
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