Torsión hacia el infinito IV / Inmanencias

“Creaciombe” – Henry Andrés Fernández Auscarriaga

El escape al silencio es primero un escuchar el ritmo del proceso universal. La armonía de lo aberrantemente injusto, la ofensiva melodía del exceso de tragedia que parece caer sobre aquellos que sin culpa afrontan lo inexplicable. Si se aguza el oído lo suficiente se puede percibir la lejana burla y el cantó sardónico, la imaginería secular-moderna desdibuja las voluntades individuales trascendentes para devolver la figura de lo inexplicable como contingencia.

Desde ahí se organiza el ataque al infinito como fragmentación del mundo, solipsismo falsamente incluyente del Otro. Si todo está aquí-ahora (como afirma el materialismo e hiperrealismo cínico mismo que se erige como postura de honestidad intelectual sin ser otra cosa de un risible intento de despojar a las alturas de su profundidad) guardar la metafísica en la privacidad de la vivienda o desecharla con la arrogancia propia del especialista en primas de riesgo se convierte en la tarea primordial. La vida, el mundo, la espera y el tiempo son magnitudes finitas, susceptibles de cuantificación y aseguramiento, lo más importante es el Schützdenken, la póliza sin enforcement donde quedan asentadas todas las escatológicas vacías de la pura catástrofe. La materia se vuelve abstracta y el simbolismo que permite trazar los límites de lo interno y lo externo se evapora en la pura externalización sin intimidad.

Desde la hipermovilidad de lo inmediato se radicaliza toda posible exégesis del mundo y su tendencia al establecimiento de una contigüidad absoluta sin brecha y campo trascendental en la inmanencia de lo vivo; deja de haber infinito apelable. Las instancias que dejaban sin aliento son ahora pequeños escapes narcotizantes y la escultura de la época es una falsa comedia sin plot ni espacio, un in-espacial (unräumlich) in-temporal (unzeitlich) del ars combinatoria abstracta que lejos de mediar al mundo lo arroja en forma de golpe curvo, algoritmo sin operadores fijos, extrema flexibilidad del rígido topos a-tópico, como una suerte de errancia estática en que nada tiene lugar y todo acontece en la simultaneidad de lo indiferenciado: el cúmulo, el pasmo, la espuma, la bestia bicéfala que devora y vomita para engullir de nuevo.

De ahí proviene la condena al futuro, la negación que en forma de positividad imprecisa se hace sentencia. El pragmatismo trae consigo la falsa superioridad moral de lo a-moral, post-metafísico y anti-esencialista. Los negadores hiperrealistas cínicos trazan líneas rectas que se cortan sin llegar a destino, es decir, se interrumpen en su trayectoria hacia la nada, apuestan todo a la no estructura, al no-ser como fondo del ser, se cometen con lo que no puede ser y con el puro borde para traerlo al centro y reproducir en otra clave lo que se empeñan en condenar. Los cortes epistemológicos y las formalidades en el tratamiento de los acontecimientos se convierten en modos de ser que, más allá de toda posible argumentación consistente, se elevan por encima de la relación más inmediata con lo presente.

Son profetas del no-contenido, adalides regios de la debilidad y la marginalidad artificiales. De ahí los nuevos éxodos que conducen al desierto como destino final y las imágenes de redención de lo existente en su alteridad. Los nómadas de la stasis, de la quietud y el reposo que se hace pasar por movimiento para reconfigurar coordenadas, pero siempre desde el plano fijo, siempre desde la negativa al campo trascendental que se afirma vivo y pleno. La aproximación al infinito sólo puede hacerse cuando se rompen las cadenas de lo posible hacia un lugar. No-presente, todavía no aquí, pero pensable, concreto y deseable, pues incluso en la aparente desesperanza de los objetos y los atomic factible, se afirma una esencia del mundo, una estructura subyacente o explícita de lo que está ahí como oponiéndose a la formalidad vacía y el marasmo. Es preciso un redoble, un pliegue desde el que se contemple la profundidad de la intemperie, la penumbra diáfana que está aún por iluminarse.

| RM | Torsión hacia lo infinito | Inmanencias | @pathosytelos |

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