Juan Muñoz: Last Conversation Piece (1994-1995), Hirshhorn Museum (*) Journalism, politics and history share an attraction to lie as a raw material of their respective genres. The fascination lies beyond their moral condition and is attached to its scandalous nature. Attracts a provider need imagination, but it does not take effect until it gets deny the facts, de-do them. The success of the lie need of repetition, which has pretensions of mantra, liberation of thought that confuses the mind and the tedium of reality that overwhelms the lives of men. His record is like a prayer, an invocation to some deity appealed to avoid its contrast with the facts. Dither
stories with lies as a tissue has the potential of the arts, whose works are a failure and are unlikely when folded to the facts. In The Decay of Lying a treaty paradoxical about it, Oscar Wilde said that "it is an inescapable duty to try the renovation of the old art of Lying." It does not refer to lying utilitarian practice of parents in the education of children or politicians in the management of the masses to tame both generations, but "the only form of lying is absolutely beyond reproach, the lie for lie, [the] highest manifestation is the Lie in Art "
The modern political lie is not to miss what was promised or betraying a pact, practices whose morality is more than repaid, but in making an illusion that goes beyond the facts of the flat really sad disrepute. Word and loyal demand too much time to check its validity and become burdens to a policy whose success depends on the repetition of images and instant messages, so ephemeral and replaceable by others of the same nature. The dual representation consisting of political, theatrical and formal delegation of power to the voters, you need a scenario where lying is a more of the actors and appeal of fiction.
Only in those countries of Protestant culture, where lying is a sin, lying is religious policy and can incapacitate the author for betraying the public conduct that is expected of him. Coincides with the public lie that sin does not prescribe and the indelible character increases his legend. Both need of forgiveness for redemption, but not to be forgotten. However, it differs in that its opposite is not true (virtue), but the fact. Clinton's initial lies about his relationship with Monica Lewinsky and Ted Kennedy's Chappaquiddick accident break the exemplary character attributed to the public but also unleash their human legend. Moral fiction is replaced by popular fiction. In the public lie, discovered by the media and fervently awaited by the viewers, there is a secular power and liberating character of the libretto but the process of accusation and redemption through confession is religious. The object is to restore both the fact and the return to the fold. The same messenger who exploits his deceptions, journalism, is responsible for recovering and enthrone the event, amid the stories being invented as a futile attempt to breach the public but useful food.
The lie is different from crime in its force and its difficulty to be encoded, thus exempted from the law and the extent of time. Lying about the past is no escape but for the future do discredit the accused, since it is not rebutted. That is the utility of the indictment of Senator Joe Wilson Obama and that makes the weakest point of his speech on health care reform before Congress when the president promises that illegal immigrants have no guaranteed health care (not provided) by the government. The senator added two notes to increase the power of the indictment: describes his act of "spontaneous", associating it with sincerity that is often attributed to intuition, and his apology is personal, and not to the president before Congress, avoiding Temple could accuse himself a liar. Wilson is a craftsman of the lie.
(These lowlands goes without saying that this does not have many overtones of being true)
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