This
possible, however, is reduced by our modernity to what is 'feasible'.
And as the space of feasible is immediately that of 'having',
'progress' started to play essentially the growth of all kind of
possession. Well, every thing done by art can be stockpiled.
And when you manage it well, it produces with time a growing sum.
Plus added to plus produces an ever larger increase. On the other
hand you get the sense. You cannot stockpile it. It returnes always
back to its eternal beginning. As an always current decision, it is
each time a kind of new creation. Its essential discontinuity refuses
the continuous summation. It is thus Irretrievable for the
'progress'.
Making the economy of 'being', the human project
slips thus on the side of 'having'. The manufacturer project tends to
be identified with its essential project. The values of sense are
intermingled with the values of articulation and more and more lose
their soul. A triumph of the 'manufacturer'! Facturer of tools and
forger of artifice. Facturer of texture. Facturer-forger of text.
Forger of an adulterated 'sense'. 'Progressivism' is finally only the
ideological superstructure of a gigantic infrastructural system
creator of a big exponential 'tool'.
Insofar as humanity has buckled
itself in a schizoid loop, the irreducible human transcendence had to
find an available vector to be put on. 'Progress' is nothing else
than transcendence invested in the immanence of the vector of
historical temporality.
From the 18th century up the category
of 'progress' will feed a whole mythology: the myth of
technical-scientist
progress is identified with total
progress of mankind; the myth of scientific intelligibility is
identified with absolute intelligibility, and logically,
consequently, you got the myth of the superiority of the inventive
Western man and holder of the mechanist effectiveness. Is it a worse
myth than this one which puts on scientific character?
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