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Just Quist opened the presentation for his new work by playing the cymbals in front of the closed door of his studio. After this, he left, leaving the guests alone with the work. This first operation marked the event: presence through absence, meaning through retreat.
This is the poem I keep returning to. X (1933) is old and has seen the promises of Fukuyama come and go. X writes somewhere that the Europe of Goethe and Schiller has made way for the Europe of 3.1, 3.2 and the monstrous 3.3. The thing that keeps drawing me back to this poem is something which Harold Bloom has described as the anxiety of influence: how can we shape ourselves through a language that we have not invented ourselves.
This question also surfaced in a recent exchange of letters between me and a friend in which I return to Nietzsche. In The Birth of Tragedy he poses, in essence, the following:
There is something in the physical experience which fun…
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Just Quist opened the presentation for his new work by playing the cymbals in front of the closed door of his studio. After this, he left, leaving the guests alone with the work. This first operation marked the event: presence through absence, meaning through retreat.
This is the poem I keep returning to. X (1933) is old and has seen the promises of Fukuyama come and go. X writes somewhere that the Europe of Goethe and Schiller has made way for the Europe of 3.1, 3.2 and the monstrous 3.3. The thing that keeps drawing me back to this poem is something which Harold Bloom has described as the anxiety of influence: how can we shape ourselves through a language that we have not invented ourselves.
This question also surfaced in a recent exchange of letters between me and a friend in which I return to Nietzsche. In The Birth of Tragedy he poses, in essence, the following:
There is something in the physical experience which fun…
