The carrot and the contemporary concept of performance as an agent of change within the geometry of museum spaces

"To be completely honest with you, from a purely radial perspective as opposed to a radial-axial outlook it is not possible for an unprejudiced observer to reach a compendium, not saddled by an unreasonable push for balance, of the carrot´s own positioning from, against or in relation to contemporary art in accordance with the autonomous generation of networks". Such an optimistic view is expressed by Prof. Adam Yeager, who works at the Department of Art, Volatile Architecture and Urban Sociobiology of the Massachusetts Institute of Technology, when questioned about the twofold front co-separation of the carrot as a spherical dual entity and its projection (as a metaphor) onto a quantum plane. A real U-turn has been observed from the time (not so far removed from now by the way) when the classic retro-futurism oriented towards a variable net of closely related vegetables was still prevalent; it is a completely different story nowadays, since everyone knows that the next big thing is the non-hermeneutic interaction between net-art and neutral concepts of spacing influenced by the relative situationism of informal settlement spaces in Mexico City.

Ethan H. Benzheimer, a TriBeCa private art collector and gallery owner, proposes a meta-linguistic vision of pre-carrotistic dialectics on a sequential atomic stratum which loosely adheres to Burckhardt and Hartzenbusch´s theories on experimental models of hierarchically organized representation levels defined in terms of Jonassen´s cultural critic. His arguments, which place him in the opposite camp to Yeager even if they do share the opinion that from a purely radial perspective as opposed to a radial-axial outlook it is not possible for an unprejudiced observer to reach a compendium, not saddled by an unreasonable push for balance, of the carrot´s own positioning from, against or in relation to contemporary art in accordance with the autonomous generation of networks, are focused on the semiotics of confectionery as a suprasensible arch-nihilist reproduction of every non-bacterial entity. The discrepancy, which in a way cannot be entirely considered as such although it is still a discrepancy (as understood having the essential subjectivity of objective reality strongly in mind), is to be found in the extremely shaky contemporaneousness of the carrot and the under-carrot, which, as hinted at by scholars like Zorn, Hess or Schnellwinkler to name only a few, could be compared on a rather protean than epicurean discussion level (as a superficial category distinction) to the limitless meta-mathematical contradiction triggered by the long phased out dialectics between potato and under-potato since the bygone age of art as concave mirror (the 1940s, as it stands). Given the risk of obsolescence and purely random and spectral replacement by other net-art phases functioning on pure spatial geometry (such as the aubergine, the pumpkin and the cabbage), very appropriately highlighted by the likes of Rutgers, May and Volpi, these authors, together with fellow theoreticians of micro-macro duality such as Jenkins and Wurlitzer, question themselves whether the carrot will fit into an abstract reformulation within the framework of a merely theoretical-practical net, which may allow it to avoid an easy and clichéd (because of its simplistic nature) categorization within the unstable oscillating nature of the vegetal totality.

There is little to say about the place of the carrot within globality as a transglobal performance; we can only side with Schwarzenbeck when he claims that there is a purely specific magma of networks connecting autonomous spaces of vegetables understood as a transgression of the modularity inherent to fruit determinism in times of change, mimicking the intracarrotian being-as-a-being and bequeathing triad inherence to them, thereby confirming the intrinsically variable essence of its surface.