ANONYMOU[S] is a brief series of texts submitted, read, and published anonymously, with the agreement of the author not to reveal themself.

01. Dispersion is not mere disunity, but an active form of inconsequence: a disarticulated proliferation that blocks the formation of stable signifying chains. /// 02. We are not facing a strike of events, but a rarefaction of consequences: facts no longer generate fidelities or lines of continuity. /// 03. New “events,” rather than reinforcing a line of sense, tend to erode the consequential bond with their precedents. /// 04. The notions of repetition and rupture only function critically in contexts of event-scarcity, where meaning is condensed. /// 05. Something persists, but no consequence derives from such persistence. Something erupts, yet no consequence follows that irruption. /// 06. In the aesthetic field, both the emergence of innovation and the establishment of a canon only matter if they inaugurate a series of consequences. /// 07. Under conditions of stimulus excess (a “mere” quantitative overflow), both repetition and innovation tend toward inconsequence. /// 08. Quantitative excess (the punctum) is eroded by qualitative excess: an inconsequent proliferation of stimulus points. /// 09. Jouissance is inconsequent desire. /// 10. The market thrives on inconsequence: it profits from the contingency of articulations without the need for continuity. /// 11. One image of “promiscuity”: the random drift of pure forms, a kind of atrophied persistence. /// 12. Erosion is not disappearance or repression, but the active production of inconsequence. /// 13. The notion of “relational aesthetics” presents as innovation what is, in fact, a symptom of the crisis of the artistic field. /// 14. If contemporary aesthetic practice must become relational to function, it is because the artistic field has collapsed: it persists as a field without attributes, a diffuse subregion of the market. /// 15. That movement should be radicalized (a politics of the symptom): from “producing worlds so that certain aesthetic experiences are possible” to “producing aesthetic experiences so that certain worlds become possible.” /// 16. Persistence, rupture, and innovation must be rethought as secondary to the question of consequence and inconsequence. /// 17. Transaesthetics is the possibility of thinking concatenations of aesthetic practices that go beyond the (hollowed-out) art field. /// 18. The production of consequences, as an aesthetic strategy, involves articulating procedures of persistence, rupture, and semiotic innovation, along with a variable play of cuts and compositions with non-aesthetic practices. /// 19. The core principle cannot be aesthetic but ethical: an egalitarian axiom must guide articulation. /// 20. Hence, the inscription of aesthetic procedures within multiform experiences of self-organization. /// 21. A politics of the common derives from a decision: the willingness to work for the expansion and interconnection of self-organizing points that would otherwise drift inarticulately, in inconsequence.