‘Something new doesn’t mean it’s exciting, important or even relatively good. ‘
From radical romantics to sandal-wearing-sexual-experimenters and valorous vegans, these oddballs have defied convention, society’s hold on authority and authority’s hold on society, even the realms of man’s meaning itself to create some Wundermann, a fluffy Übermensch for the modern age.
The term ‘Bohemian’ is usually wrongly interpreted as a way of life, a way of non-conform, an escape of the consumer-driven society we live in, it’s certainly not the redefinition of ‘holy’; it’s the self-consuming nature of one’s immersion and embrace of consumption, debauchery, and a vulgar sense of art’s form. – I shall use ‘On The Road’ as an example – Sal uses a relentless sense of seeking because of dissatisfaction – ‘that last thing’ – to create an ethos of spiritualisation, to which the freedom of the open road exists in a necessary conjunction because of the idealized comforts of the middle class American domesticity, and the language at the speed of experience thus because of the elimination of ‘the’ and ‘and’, the language, the game at the speed of ecstasy and the condition between mind, brain and soul.
This sense of never-arrival, to which all successors must worship its Swift arrival, creates an undercurrent theme of moral hierarchy of form – that only art, language, soul and abstract philosophical thought of the paradoxically hypocritical reasoning behind the body-soul complex from Protagoras to Avicenna, can break some Platonist realm – one which the paradoxically hypocritical science and Aristotelian empiricism cannot break.