Readymade-image-sentence: protest aesthetics in a time of democracy post-1989

ABSTRACTJacques Rancière perceives the image as what is sayable and visible 20C film montage an Image-sentence: closest proximity of parallel realities (Rancière 2007). Prohibited from public view, Marcel Duchamp’s 1917 Readymade revolution re-membered in a photographic image: fountain-urinal. On mourning after WWII, George Orwell noted readymade-sentences could(n’t) be said (Duchamp 1997). Captured by Rene Magritte, treachery painted-word-image-thought, could have been about it wasn’t (Flavia, 2014). About now, Walter Benjamin saw optical unconscious photograph miraculously inverting awe culture nature. (Benjamin 2004) After 1989, Bruno Latour held this modern Constitution equally anti-modern (before ever having modern) postmodern, which there would nothing, except digital (Latour 1993). Before this, Situationist International Fluxus showed life other side art. Keep your coins, I want change, read millennial graffiti’s signature anonymity . With no True North, portfolio-essay presents Image protest aesthetics time democracy post-1989. Before, North South; southern hemisphere parallels; in-between South North. Overarching Pacific mirror. Each readymade-image-sentence has four cartoons four, 200-word max. abstract captions.Keywords – aesthetics, protest, city, North-South, East-West