Caducidad y absurdo II / Inmanencias

“This is a pipe” / Banksy

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Quien esté decepcionado de todo no quiere tener “nada”, quiere el ser.

Klaus Heinrich

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Pensemos la fecha de caducidad escrita en la superficie de las envolturas de cualquier perecedero. De inmediato se viene a la mente el perecer y su castigo: la muerte y la fuerza de succión que atrae a lo que Es hacia un no-Ser, que si bien no puede ser absoluto porque de él siempre permanecerá la memoria, sí deja tras de sí únicamente el rastro de lo acaecido anteriormente. La fecha es una medida aleatoria, es decir, es una imposición de la medida a la cosa. La medida es la herramienta por medio de la cual se acomoda lo existente y su facticidad en algo susceptible de ser calculado, pronosticado. Medir es esa actividad por medio de la cual se dibujan límites y se introducen en la dimensión del cálculo para comodidad y tranquilidad de quienes contemplan el tiempo como lo que acontece hacia lo determinado y luminoso de la destrucción. Éste es el llamado tiempo-fatalidad que poco a poco se impone como ontología y soporte de una ética del vacío y el titubeo.

El acontecer —según la ontología del tiempo-fatalidad— es torbellino, producción de vértigo y náusea. La consecuencia es el mar espumoso de la decisión de sólo aparente claridad y distinción. El guiño moderno y cartesiano de lo claro viene de regreso pero como farsa, algo a lo que se le debe mirar desde la justa distancia del “desengaño” (o el franco cinismo) con la seriedad de la ironía, y el humor de la tragedia inadvertida. Si el acontecer no es otra cosa que un golpe al mar informe de lo Real, que se reproduce en espuma, en repetición de pequeñas burbujas una al lado de la otra, no existe posibilidad del escape a la mónada tridimensional: la esfera que encuentra su límite en otra esfera, que parte de un fluido para ser un fluido que contiene fluidos.

Todo es una iteración sin fisuras, es más, podríamos decir que no es “fisurable” porque carece de la solidez necesaria para que exista un corte. Baste recordar la imposibilidad de cortar la espuma para darnos cuenta de que no hay otra cosa que lo maleable, lo móvil e inasible. Si la decisión es corte (Ent-Scheidung como corte que abre las opciones y las muestra en su luminosidad y blancura) ha de estar opuesta a una solidez que resista la acción. Sólo en tanto que exista un objeto susceptible de resistir (por obstrucción y dureza) la decisión, tiene sentido plantear la existencia en términos de empuñar lo que se es y dirigirlo hacia lo Otro que se opone, que se presenta en contradicción[1] al acto de decidir, es decir, que resiste la apertura de las opciones por medio del corte.

Pero ¿qué sucede con la flexibilización absoluta de lo que resiste? ¿Qué hacer cuando la oposición no se muestra en solidez suficiente como para poder presentar la resistencia necesaria? La decisión es imposible y se falsifica en la adaptabilidad, se convierte en el mérito de saber salir y entrar con total impunidad de las pequeñas burbujas constituyentes de la espuma (se entra y sale de las relaciones entre individuos, se rompen los vínculos y los otros “no lo toman a mal”, se acaba lo personal y caduca lo certero y sólido).

El acto de invasión-abandono por medio del cual se constituye la falsificación y simulacro de la libertad se revela en su obscenidad cuando se le evalúa desde el telón de fondo de lo decisivo, de lo que sí crea opciones y contradicciones susceptibles de resolución, superación y repetición auténticas. La pura ruptura del ser del otro en uno mismo no tiene mucho que ver con la libertad como destrucción de las ataduras, o actuación plenipotenciaria, es más bien el redoble de la dominación, la interiorización del mandato que arroja lo conocido a lo desconocido, lo cierto a la incertidumbre y la fundación de la verdad (incluso era verdad amenazada, débil y precaria que se escribe con minúscula en total cinismo) al absurdo por pura explosión.

RM / Inmanencias / @pathosytelos

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[1] im Gegensatz zu. Cabe aquí anotar que Gegensatz está formado por los vocablos alemanes “gegen”: contra y “Satz”: enunciado. Que se muestra equivalente al término hispánico contra-dicción éste a su vez manifiesta la preposición “contra” y la alusión lingüística de la “dicción”, la ligera diferencia se ubica en que la alemana “Satz” representa la unidad de lo pronunciado y lo significado en el enunciado, mientras que “dicción”, por su parte, sólo alude lo pronunciado como modalidad del romper el silencio, pero sin establecerse en contenido.

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