From Blasphemy to Canonization: Hybrid Dramaturgies and the Self-Implicative Method

This article expands the conceptual ecosystem initiated through hybrid dramaturgies and the self-implicative method, examining image disappropriation as a performative and epistemic practice. Revisiting works that reposition sacred imagery within everyday contexts, it argues that the gesture is not profanation but reinscription. The analysis articulates body, image, and writing as cognitive and aesthetic engines, framing artistic practice as knowledge production. Situated within contemporary regimes of digital visibility, the text introduces algorithmic canonization as both critical horizon and contested field. Rather than diminishing meaning, circulation redistributes it — converting presence into language and aesthetics into method. Methodological Note: This article employs the self-implicative method, in which critical inquiry emerges immanently from artistic practice and its circulation. The writing does not merely describe the work: it extends it, functioning as an integral component of the performative gesture and its discursive inscription.