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Music

Imagine a World like That…

A song that has stuck with me in particular lately, not merely due to a catchy hook but for its distinctive pathos, is Imagine, from Ariana Grande’s magnificent new album Thank U, Next. With the song Grande paints an idealised picture of a relationship with the romantic subject undercut constantly with the refrain, a plea to “imagine a world like that”. The lyrics maintain a certain ambiguity, presenting multiple possibilities; That the world she describes is possible yet the subject cannot imagine it, that the world is not possible and the subject cannot imagine it, that this world comes into being through imagining it or that it cannot, but must be imagined regardless. Within these possible readings lies a pathos of unrequited fantasy, a symbolic ideal that remains out of reach.

This might the point where I come out with some pseudo-nihilist statement, coolly staring into the middle distance as I proclaim that love is just a chemical reaction maaan, it doesn’t exist. This, however, is only half the point. To be in love is to imagine, to dream. The mistake is to proceed from this to claim that love doesn’t matter. The fact remains that at some point we experience the strange and discomforting feeling that none of this is real, and in a sense we are correct. Nothing about this is as it seems, something we can ascertain as soon as we move past transcendential explanations for affects; the reality we all experience is founded upon a collectively consensual dream, the raw, unvarnished reality merely revealing itself as a further servant of the symbolic under scrutiny.

So love, in a Spinozist sense, is a series of affects given symbolic form.. this is only a step away from the “love as chemical reaction” statement, indeed shares with it a kind of cold analysis of human emotion, and yet does not in the manner of this former trite framing render it somehow less important as a result. To live is to dream, as it is to love and to feel. As such, Ariana Grande’s call to imagine becomes both a call to imagine something inevitably unfulfilled, and to express love in its true form, for the romantic subject to submit to the fantasy world of the relationship. This element of gossamer thin tension lies between the twin subject of a relationship and its outside, the point at which both enter the immersion tank and a new symbolic reality forms from the affects generated by their interaction.

So romance, love, becomes the formation of a symbolic reality. It is to “imagine a world” in a true sense, as any collaboration with another human being is to generate affects with symbolic resonance, creating each time a new microcosm of further effects. Love is necessarily a kind of imaginary world, the horizon of which defines its possibilities. To love someone or something is to create between two things a desiring multitude of effects, and in this sense one can easily refer to the DeleuzoGuattarian multiplicity, that within such a relationship is not merely two actors but a many more in the branching effects produced.

To imagine a world then, is to love. To engage in a romantic coupling is an unconsciously desiring production of reality, and this in turn maintains itself through the contradictions of the imaginary and the symbolic, the symbolic representations of affects becoming the imaginary worlds of containment. Love is a swarm. It is a re-alignment of perception, a psychedelic invocation. This renders what begins as a realisation that love is predicated on fantasy and catapults it towards a singular power more potent than any transcendental conception of love as a spiritual force. The transcendent is removed, inarticulate; it contradicts its own attempts to lend power to worldly affects through its own rendering of them as ethereal nonentities. In truth, as anyone who has experienced any kind of emotion might have realised, it is in affects we find that which profoundly alters our experience. To imagine is to love, which is to re-align the vectors of perception itself.

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Traversing the Fog of Perception

Oh my, where to start. I guess somewhere within the last few years, during my years at art school, that place where I simultaneously found myself learning the most important practical lessons of my life and miring myself somewhere out in the swamps of absolutism via the misguided will’o’the wisps of contrarian bullshit. I became the enemy of my youth, those stuffy, moralising suited old men telling you what to do with your life. Those “careers advisors” I had met in college who laughed at my desire to go to university and study art, purveyors of stifling oppressive corporate normalisation into a system of ideological presumptions I wanted nothing to do with. 

To be honest, I think I was depressed. I never became suicidal per se, and I was always [read: mostly] able to smile and chat and pretend I was enjoying things even if under the surface it was a fucking quagmire of anxieties and uncertainties. I retreated from reality because I didn’t want to engage with it. I found it overwhelming and the only way I could get past it was to find some strange solace in getting angry, not even at anything sometimes, I just wanted to work myself up, tell myself things were certain, worked out, feel something other than the constant disconnection that was building up increasingly towards the end of my Masters course. Disconnection to myself, to my work, to the world, to those around me.

That’s what bothers me most looking back on that time, the effect it had on those I care about and am close to. I’m aware I’m not disposable, and indeed have tried to focus far more on maintaining my health after coming out of this state of abjection, but thinking about how the state I got into ultimately pushed people away, hurt them and affected them bothers me far more than the emotional anguish it caused me. I came out of being lost and alienated and became more and more insular, irate, closed-minded and generally unpleasant to be around. I genuinely hate what became of me during that time. Here’s where we get to the exorcism.

At some point, like Agent Cooper trapped in the black lodge, I embarked on an odyssey back to Twin Peaks. Something snapped in my brain, the curtain parted and I found my way back from this waiting room, this stuffy old mask of penitence I’d been forcing myself to wear. And like Agent Cooper, the way I got there was far from conventional. Something that defined what I did to myself over this time was a suppressing of my taste, some attempt to prove something to others. Put simply, I like weird shit. I always have honestly, something to do with me being an outsider, a bit of a weirdo through my school, college and majority of university years. I wasn’t really “in” with the cool kids, or anyone else, for that matter.

I like Stockhausen, godammit. Not exclusively, that’d be a bit much, but the point is I grew to like a huge variety of strange, avant-garde, off-the-beaten-track music and films, and this connection to the weird, to the outside, the other became important to me. I’m not trying to brag here about how “cultured” I might or might not be, even if it sounds like that, but the fact is I always had a special place in my heart for the kind of stuff that lay outside the mainstream, that defied conventions and “pulverised forms” to paraphrase Alan Moore. My biggest source of emptiness during my year of bulshittery was my forsaking of this element. Save David Lynch’s work [a constant companion without which frankly I might have entirely driven myself up the walls], which managed to stay with me to a certain extent, and some things that seeped through the cracks, or that I enjoyed in secret, the weirdness I unapologetically revelled in was sidelined and absent.

So I found my way back to myself, through suitably strange channels, through meta-referential temporal distortions and allegorical arcs of scattered historical landmarks. I won’t tip-toe around any longer, I read Gravity’s Rainbow and it changed my life. I entered the deeply obscene, beautiful, profound, hilarious, disturbing, confusing and multi-sensory overload of Thomas Pynchon and it practically realigned my brain, poking around in there and unearthing stuff I hadn’t noticed. It acted as a intellectual literary pressure-washer to the cerebral cortex pushing me into a journey through the outer limits of perception I’m still very much enjoying today. 

More recently I’ve found my way back to writing in a big way, largely through finally delving into the work of Mark Fisher and finding a vast web of varied explorations throughout the radical fringes of philosophy and cultural theory. There’s a whole world of material out there I’ve only just started thinking about in the scheme of things, but it feels like a jolt of electricity to my increasingly zombified interest in philosophy, travelling into a strangely compelling yet terrifying dimension of abstract manipulations of cause/effect phenomena, a Lynchian ontological collapsing of space, a blurring of reality-perception. Question my sanity perhaps, but I find the whole thing immensely enjoyable. Simultaneously, through the nexus of Fisher, I have rekindled my love of music and its power to transgress the normal in so many ways. 

So I started this blog, right here, a kind of blank slate from which I intended to chronicle a new process of thinking. I accept that some of my preliminary writings here might be sketchy [preliminary, in other words], I might misinterpret some things, whatever, but what was important to me was this form, this ability to think and write on the fly, something I have started to find increasingly exciting and hopefully can improve my own use of in time as I read myself further into these arcane avenues.