THE ANARCHO-CULTURE
RICARDO BARRETO
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new space-time dimension. Another example
of space-time-prop are the digital computer screens as manipulated by Doug Engelbart's
invention, which remains in a state of temporal suspension, waiting for the user's
interaction to make a leap to another orbit. The interaction pressuposes a temporal
epokhe, because without it we would be trapped in a continuous flow; we would
be slaves to the temporal linear-analogical automatism, for there has never been
anything libertarian in the analogical media; we'd be slaves to chronic time.
Remember the revolutions (temporal epokhe), when, against the oppressive time,
clocks were shattered. Suspension and leap are the two faces of catatonic time.
Suspension is the strategic moment of decisions, volitions and desires. It can
last all the time or an unperceivable fraction. On the other side, the leap happens
in the temporal flow that brings in itself the possibility of suspension at any
time, causing a transformation in the nature of time and of whatever happens in
it, producing an indetermination with respect to the
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temporal direction. They are becomings,
yet the leap can also be clonic, causing multiple interconnected temporal directions.
In the digital world, they can happen through multiple linkages between the orbits,
or through multiple superimposable windows developed by Alan Kay. The time-space-temporal
connection (catatonic time), and the free anarché intensities inaugurate
a new form of experimentation and cultural liberation. Mass media, on the contrary,
as producers of "mass culture", imposed a linear form temporality to
the masses, enslaving them through a continuous and unrestrained flux of disempowering
signs, making a devaluation of the Public and the Culture. Linear time was responsible
for the generalized massification of the modern public and a meta-narrative vision
of history. A complex and anarchic mentality imposes itself to contemporary culture:
anarcho-culture. It happens when the cultural authority can no longer exert its
power over cultural manifestations or its producers; when the products are no
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