Every cultural text is a product of the society given birth to its formation?
If the text itself is a celebration of subcultural ideals situated outside external to the routes controlled by hegemonic powers that be, is an individuals contained celebration of the text a celebratory reaction to the production behind the text as opposed to the text itself? Regarding where I am sitting right now – Patriarchal Capitalism?
In this sense do we free ourselves through submission?
Example – Being an attendee of a musical concert, you may notice your own movements being controlled in corporeal fluctuations, powered by the equation of space needed by fellow members of the audience. This act can be claimed by the public domain, externally represented in abrasive movements and providing space for your freedom to develop (yet governed by the performer who exists as a catalyst of context for those movements and loss of individuality).
Movements of this nature could be interpreted as the taking part in ceremonial procedures within the micro-domain, celebrating a fractured, augmented, apolitical order of the dominant ideologies.
However, if each person attributes a cognitive value system towards retrieving and producing meanings, does an understanding of the musical performance instigated by the aforementioned text not simply an act of celebration within the public domain, but in fact a ceremonial process to reconcile a tangible form of the imagination?
If the text itself is a celebration of subcultural ideals situated outside external to the routes controlled by hegemonic powers that be, is an individuals contained celebration of the text a celebratory reaction to the production behind the text as opposed to the text itself? Regarding where I am sitting right now – Patriarchal Capitalism?
In this sense do we free ourselves through submission?
Example – Being an attendee of a musical concert, you may notice your own movements being controlled in corporeal fluctuations, powered by the equation of space needed by fellow members of the audience. This act can be claimed by the public domain, externally represented in abrasive movements and providing space for your freedom to develop (yet governed by the performer who exists as a catalyst of context for those movements and loss of individuality).
Movements of this nature could be interpreted as the taking part in ceremonial procedures within the micro-domain, celebrating a fractured, augmented, apolitical order of the dominant ideologies.
However, if each person attributes a cognitive value system towards retrieving and producing meanings, does an understanding of the musical performance instigated by the aforementioned text not simply an act of celebration within the public domain, but in fact a ceremonial process to reconcile a tangible form of the imagination?
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