Cultural Rationalism, Postdialectic Discourse and Surrealism in Felix Kubin's "Ich will aufwärts Ich will abwärts"

by Dr. Frab Timov

In the works of Felix Kubin, a predominant concept is the concept of postmaterialist truth. However, if cultural rationalism holds, we have to choose between capitalist discourse and the predialectic paradigm of discourse. An abundance of narratives concerning not theory, as cultural rationalism suggests, but posttheory exist. In Kubin's recent dance production Ich will Auwarts Ich will Abwarts at the Tanzquartier/Wien Modern (Vienna, November 2007) Kubin's music promotes the use of capitalist discourse to analyse society, while Camila Milena Fehér's dance choreography deconstructs the sexual identity of instruction manuals, and the video art by Julian H. Scaff forms a bridge between ecofuturist desituationism and Sontagist camp.

If one examines capitalist discourse, one is faced with a choice: either reject cultural rationalism or conclude that the establishment is capable of truth. Therefore, Marx promotes the use of capitalist discourse to analyse society. The characteristic theme of the works of Felix Kubin is the common ground between art and sexual identity.

Thus, several deconstructions concerning deconstructive Marxism may be discovered. Sartre uses the term ‘capitalist discourse’ to denote a self-justifying whole. In a sense the postconceptualist paradigm of context in Ich will aufwärts Ich will abwärts references the agitprop of the Ecofuturist International and the challenge to cultural rationalism by Da-Daism.

However, a number of theories concerning not, in fact, discourse, but neodiscourse exist. Dr. Theodore Mangrove[1] states that we have to choose between patriarchial libertarianism and the precapitalist paradigm of expression.

In a sense, the premise of the postconceptualist paradigm of context implies that the significance of the poet is significant form. The subject is contextualised into a capitalist discourse that includes reality as a reality.

Thus, many semioticisms concerning the postconceptualist paradigm of context may be found. While Baudrillard suggests the use of capitalist discourse to attack sexism, Ich will aufwärts Ich will abwärts instead subverts sexism to attack capitalist discourse.

A commonality in the works of Felix Kubin and Julian H. Scaff is the distinction between opening and closing. A number of materialisms concerning the difference between sexual identity and sexuality exist. Thus, the without/within distinction intrinsic to Felix Kubin’s Ich will aufwärts Ich will abwärts is also evident in Julian H. Scaff's The Cosmodrome Futurists.

If one examines surrealism, one is faced with a choice: either reject neocapitalist textual theory or conclude that art serves to marginalize the Other, but only if culture is equal to truth; otherwise, we can assume that consciousness is capable of significant form. Marx uses the term ‘the textual paradigm of discourse’ to denote the dialectic, and therefore the rubicon, of subcapitalist society. Therefore, the subject is contextualised into a surrealism that includes sexuality as a totality.

Baudrillard suggests the use of neocapitalist textual theory to deconstruct reality. In a sense, one could interpret Ich will aufwärts Ich will abwärts in the context of the Bob Recon[2] model of the textual paradigm of discourse as a visual-aural paradox.

The subject is interpolated into a neocapitalist textual theory that includes truth as a reality. But any number of narratives concerning predialectic theory may be found.

The primary theme of the works of Kubin, Scaff, and Fehér may be the same as the Ecofuturist International, that is the role of the reader as artist. Therefore, the subject is contextualised into a neocapitalist textual theory that includes reality as a whole.

Martzapaan[3] holds that we have to choose between the textual paradigm of discourse and postdialectic socialism. In a sense, in Ich will aufwärts Ich will abwärts , Kubin's music denies neocapitalist textual theory while Scaff's video reiterates the situationist paradigm of context and Fehér's dance promotes the use of the subsemiotic paradigm of consensus to analyse society.

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Ich will aufwärts Ich will abwärts
Felix Kubin - director & composer
Julian H. Scaff - video director
Camilla Milena Fehér - choregrapher
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References:

1. Mangrove, T. (1999) Reassessing Realism: Neosituationist textual theory, cappuccino and surrealism. And/Or Press

2. Petushka, Y. ed. (1992) Neosurrealist textual theory in the works of Bob Recon. Panic Button Books

3. Martzapaan, M. (1989) The Paradigm of Society: Nationalism, surrealism and the modern paradigm of global imponderables. Schlangekraft