The new bemoans to be emerged.
While this gesture to capture the new remains grounded into a nihilistic dimension and a paradox that only instantiates the circularity of becoming anew, it is a method of referentiality in which we belabor to refer to something that has not gained existence. Here, we grapple with a language, an image, and a space, wherein we can take a verifiable ground to call out the new, to find a name for the new, to appear before the new, to speak with the new, or to assemble constructs for the new. We institute a sense of recognition and connection of something unknown that we aspire to know. Insisting Butler’s theory in subjection, the new always and already inaugurates itself in a “tropological quandary,” whereby we “seek to take into account how the [new] comes to be.”
And as the new passionately works towards becoming new in a tropological topography, it forecloses possibilities and imaginations, sketching differences or new differences only to be submitted to the legible and intelligible. In forming itself, it always turns to and on itself. Passionate and narcissistic attachments sustain its reflexivity. It “extenuates the potentialities of space, dries up the flow of voices, forms exhaustive series of things, and dissipates the power of the image.” Through this constitution, the new comes before the possible. It is a site of tiredness, exhaustion, and frustration. It performs the desire to be reflexive in order to leave, to discover, to explore, and to experiment. It is a consummate compulsion to attach a desire to something that is and can be known, written, or spoken; it is an obsession to detach itself from exhaustion.
Bastardizing Deleuze, the new is a double possible, enacting and acting out possibilities. It bemoans only to emerge, to be emerged at a dehiscence.
Renan Laru-an (born Sultan Kudarat) is a researcher, a curator and the founding director of Philippines-based DiscLab – Research and Criticism.