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According to Dubuffet such culture strikes up an image of knowledge in its followers, and gives them a factual sense of power, because they influence the way we speak, we think, perceive, and the way we act. Culture “agents” decide what has culture and market value, and burden the society with cultural propaganda, which is then well used by politics, teachers, or moralists. Dubuffet declaims against this choking culture and its calling for consistency and exactness. He cries out for a culture based on modest and straightforward activity of the creative spirit, rid of the market or social profit burden. It’s important to let go the idea of value in spiritual creations and to start actively developing individual thinking, skills, imagination, and creativity. We need to get rid of strict norms, definitions, and terms and instead, examine things by circling them and seeing them in their contradictions and ambiguities. According to Dubuffet an artist must examine not only heads, but also the tails of all things, and also approach their own work subversively, thus constantly adding the needed diversity and insecurity into the seemingly calm culture business. Where there is no cultural insecurity, there is also lack of thought. Thinking must sprout out of discontinuity and Dubuffet calls for new philosophy of discontinuity that would instead of comparing principles arise from their opposites and metaphorically instead of focusing on lines and surfaces focus on curves and brakes. “Defects and rejects are the substrate and revival of thought. The cultural apparatus paralyzes thinking, it ties up its wings,” adds Dubuffet, and as if his voice echoed with Nietzsche’s cry for freedom of the modern artist, who must fight for it against the anesthetizing cultural conventions, and cultural body preachers, critics, and intellectuals.
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