When moving from Kant’s architectonics of knowledge to Blumenberg’s paradigm of a shipwrecked humankind adrift in the medium of its immersion, the latter appears dynamic, i.e. susceptible of creating and transmitting vortexes. Hence, the need for a social rheology, in which the coherent bodily movements of the largest masses end up not just putting a literal spin on events but sucking from non-being into being the very factuality of our next global experience.
Playing particularly well the role of inert, compliant matter suffices to give the bulk of a social body a decisive edge of competitiveness, apt to make it deliver in excess of a mediocre remake vision. This outstanding radiance comes not from an exceptional new inspiration but from the superior social conductivity of a previously existing, underrated idea repeated until it fits the changing context.
If the radiance of a work is understood as its capacity to touch deepest the greatest number, the synchronic movement of this large public when touched appears instrumental in deepening and amplifying the touch. A superior passive conductivity can considerably eclipse the content of a vision, practically stealing the brilliant show of individual genius and relocating it in a corporeally, collectively accessible invisible.