The Unreal Canon is a component of the extrareal narrative, encompassing irrational substantial power, concealing everything in a single veil of unreadable plot identity, preserving the symbolism of the transcendental signifier, leading about fetishized zones of the Unknown.
The internal semiology of the visual, constituting the semantic transcendence of the signifier, is built on the basis of timeless semantic unreadability (the mystery of the otherworldly), preserving the language barrier of transcendental logic, read through illustrative-literary experience of descriptions of processor forms of decodings and statements, emptying reality with their excessive plausibility, attributing reading to the category of allegorical reductions in a contextual boundless field of activity. Pseudo-processuals, shaking the course of the narrative veil, smearing the systematized areas of the unconscious, narrating the plot identity reflected in the subconscious mimicry of enlightened narration (samadhi – context), form the unconscious subconscious of the readable, reducing the reader’s reflexivity, by their inner consciousness or external unconsciousness.
The subconscious of the visible is stored in the informative field of the unknown, read by impulse bursts, coincidences with the metaphorical scene of vision, visible inside the seeming, i.e., hidden from the outside.
The Scene of the Unknown constitutes a boundless field of inwardly folding metaphorical realities, correlated only with the “boundless interpretation” of the Unexplored spaces of the unreal identity. The existing image of the Unknown is stored inside the vision and identified with the unreal plot unfolded by the Unreal Canon, maintaining a reflexive connection with reality as such. Behind the mask of transformations, the Unknown hides the depths of unidentified spaces, preserving invulnerability in plot tactics and in the subspatial depiction of the unspeakable allegory of the narrative, i.e., by distancing the substantial matter through delaying the emancipated logical plot, we visualize the silence of the narrative. All this goes back to traditions of anticipating reality, exaggerating the reader’s correctness. He, deprived of writing, is placed as reading-writing, lowering the Reader to a reader and the Writer to a writer, incriminating a foolish venture by his deprivation “Like, I want too…”.
The plot practice of the reformation highlights of the Unknown preserves the true reader in those places where the reread practice has a special status, the status of memorization, “cramming emptiness,” where the mechanism of reflexivity of the Unknown manifests. There, clashes occur with the sweetest fireworks, “dandies of contexts.” Enjoying true reading, we understand the supernatural and futility of everything (samadhi – context), while entering a state of complete contact not with the author, but with his genetic tree, on which grow the fruits of ancestors, fruits of archaic comparisons and mythological inductions flowing in the veins of the author’s tree, fruits of personifications of the past, in the retardation of the future “madness and reason, laughter and tears.” Breaking the gaze, we again and again intrude through the thorns of fetishes to where there are no word formations, no orthograms, no commas, no periods, where the author’s eyes meet yours, where the author and you are one whole, and only in such a case, finishing the book, the reader can boldly declare: “I wrote this book,” and only then, finishing the novel or book, sentence, the author can say: “I will never, never, never, do you hear, – never again!”Comment type: Published comment
Author: Dmytro Dulfán
Bibliography:
Dulfán D. The End of Plot Logic / Dulfán D. // Portfolio: Art of Odessa in the 1990s: Odessa. – Center for Contemporary Art “Tyrs”. – 1999. – P.196
Sources: Dulfán D. The End of Plot Logic / Dulfán D. // Portfolio: Art of Odessa in the 1990s: Odessa. – Center for Contemporary Art “Tyrs”. – 1999. – P.196
