For a modernist the world is liquid, in permanent motion. There are no firm and unchangeable borders of external or internal, of subject or object, of present or future, of time and space…Causal relations are substituted by accidents; social milieu becomes more complex; monism, compactness and objective logics yield their place to pluralism, fragmentary and subjective measures. Outside world is composed of “permanent sensations” (J. S. Mill), of illusions vibrating lyrically (impressionism) or dramatically (expressionism…). It is more problematic and disintegrated (split up to Kant’s sensorial phenomena and intellectual noumena), and could be re-integrated in subject itself.
The world of a postmodernist is nebula, gas, vapor, the smoke of something which does not exist anymore. Composed of phantom “facts and values”, it is, actually, a construct, the product of simulation. It is the “twilight zone” in which spaces (heterotopy of Foucault) and positions are completly confused. The reason is driven from the throne; there is no developmental of axiological hierarchy (priorities and value scale), consciousness (only in unconsciousness we are identical to ourselves). “The language is a home of Being” (Heidegger), but being illusion itself it is incapable of expressing the world. Men, object, subject, past, present and future… are imprisoned in vacuum, chaos, dissolution, flux, dialysis…without any solid support, and nothing could be confirmed or disputed. The entire secret of the science of truth is – there is no truth. “The truth” is but a mask for strategies of “might” (in this point Foucault follows Nietzsche and “hegemony” of Gramsci). Perceptions and conclusions are unreliable. It is impossible to take a neutral position. Every attempt of objective description, use of scientific methods, or any sort of verification is doomed to failure. We live in a pseudo-world transformed to hyper-reality by extremization of simulation and substitution of reality by models and codes. Life is, in its essence, the expression of total apathy, want of emotions, “allegory of death”.
For crealist the world is plasma, creation. He accepts it as men’s work, whatever its structure. “In the world” the man embodies his i/reality, i/rationality, i/logic…; his good and evil, sense and nonsense, his love and hatred, affinities and alienations, war and peace, crime and punishment, wisdom and madness… Understanding all creative powers and weaknesses, advantages and disadvantages, necessities and freedoms, we show new, critical, actual humanism. For everything happening in society nobody could be blamed but us. Ultimately, men are responsible for their lives. Striped to the bones, the man’s truth is anthropologically very simple: the basic drive and aim (as in all living nature) is survival. This is the main challenge for species and individuals. But man’s answer to that challenge is… Culture. As expression and base of sociality, humanity, culture is man’s creation. On the other hand, culture has transformed the “creature of nature” in its creator. Little has remained of “earthly” or raw nature. Our “minds and hands” (tools) have touched almost everything on the Earth, re-creating or adapting it to our needs, inevitably assuming responsibility. Object influences subject more if it is more subjective (shaped by our creative resources) and vice versa. Only in creation exists real exteriorization of interiority (objectivization of subject) and interiorization of exteriority (subjectivization of object). But once created, our subjective/objective world (i.e., culture, society, history…) are not less mysterious or easier to comprehend. On the contrary: the magic of otherness (creations of other persons and generations), complot, complexity and extreme variety of mediateons make it more “puzzling” and “charming”. Dangers of deviations, aberrations, destructions and self-destruction are omnipresent. They are real provocations of bestiality. Not only action of Shadow but overt howl of the Beast in the man. Confrontations of our potentials are the biggest source of our dramatic events and behaviors, tragedies, defeats and victories. “Ciphering and deciphering” of the world are not simply coding and decoding, but serious creative processes oriented toward the maintenance of our lives, increase of knowledge and crafts, enrichment of our culture and final change of the actual state we happen to be in. Crealist (albeit conscious of complexity and possible tragic aspects) always gives advantage to life, which is our creative chance. He creates for life and lives for creation. His “deity” is Eros (not postmodern Thanatos), not ordinary natural drive (of Freud, Jung), but metaphor of permanent search, craving for physical and spiritual reproduction, total procreation.