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1: The PCLA (r) proclaims that
the world is full of objects.
2: That there are objects that are classified according to fluctuating
categories.
3: That art objects aspire, equally and distinctly, to be: a) equal
to any other object in the world; or: b) distinct in value from
all other objects in the world.
4: That if, owing to the fact of functioning within the systems
of a category, i.e. art, these objects are perceived as singular
and different from the others, this perception is an instance of
power of the group that generates it.
5: That art objects are not characterized by their materiality.
6: That the fundamental material that art objects consist of is
art.
7: That art being a gaze searching for its signification in the
things of the world, another formative matter in the constitution
of the art object is, precisely, the gaze.
8: That the fluctuating cultural categories composing the many visions
of the worlds of art propose appraisals, which are diverse and sometimes
parallel to each other, both of the art object and of the object
of art.
9: That it is not easy.
10: That the processes of symbolic abstraction are part, reciprocal
and/or constituting, of the processes of abstraction of the economic.
11: That being Artist, Art, Institution, Discourse, Text, the Symbolic,
Gaze, that which gives signification to the art object, the value
of the art object exists only to the extent to the extent that the
preceding elements are projected onto the activity of art.
12: That the art object is a space where many spaces coincide and
mutually ignore each other.
13: That it would be false to accuse the Conceptual Art's movement
and its purpose of Dematerialization of the Art Object, of having
clarified the strategy presently applied by the speculative or financial
capital, or of having inspired the economic process of post-industrial
society according to which the sectors devoted to services, maintenance
and entertaining– leisure time occupy population sectors that are
larger than those devoted to the production of material consumer
goods.
14: That, in a sense, to stand in two places is to stand in both
presence and representation. For representations are not simply
less real than what they represent; they are also real in that ‘representations
are social facts'. They are not, in other words, just re-presences,
but presences. They are part of ourselves.
15: That if there were not art, the world would be only world and
have another Model of Object of the Paradox.
16: That, seen in this way, the self is not a perceived object,
but a mental object created by an organizational operation on a
stream of impressions, which, per se, lack this organization.
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