When I enter a house for the first time I check on whether there are books, if they are few, if they are many, if they are too neatly arranged — which is a bad sign — or if they are all over the place — which is a good sign, and so on.
Grasso continues his exploration of space and temporality as he seeks to create what he calls a "false historical memory." In this in-between place where true and false intermingle, the all-pervading observation of the sky underlies a broader examination of seeing, watching and surveillance, at the same time as it opens up a path to possible worlds.
The psychiatrist was tall, massive and imposing, bearded and with hands like shovels. I could just see him immobilizing a raving lunatic and forcing him into a straitjacket.
He was kindly enough, considering his beard and bulk. He got me to tell him everything and kept nodding his head. This seemed reassuring. Then it occurred to me that I too used to nod my head while clients were talking and I felt somewhat less reassured.
My mother was unquestionably happy. Her bright, creative spirit, overflowing with love for mankind, floated and soared above us all, though she often said that "happiness — is when there's so much to do there's no time to think."
It was a bright, cold day in April, and the clocks were striking thirteen.
Life was not to be sitting in hot amorphic leisure in my backyard idly writing or not-writing, as the spirit moved me. It was, instead, running madly, in a crowded schedule, in a squirrel cage of busy people. Working, living, dancing, dreaming, talking, kissing — singing, laughing, learning. The responsibility, the awful responsibility of managing (profitably) 12 hours a day for 10 weeks is rather overwhelming when there is nothing, noone, to insert an exact routine into the large unfenced acres of time — which it is so easy to let drift by in soporific idling and luxurious relaxing. It is like lifting a bell jar off a securely clockwork-like functioning community, and seeing all the little busy people stop, gasp, blow up and float in the inrush, (or rather outrush,) of the rarified scheduled atmosphere — poor little frightened people, flailing impotent arms in the aimless air. That's what it feels like: getting shed of a routine. Even though one had rebelled terribly against it, even then, one feels uncomfortable when jounced out of the repetitive rut. And so with me. What to do? Where to turn? What ties, what roots? as I hang suspended in the strange thin air of back-home?
METAPHYSICIANS OF TLÖN: Kircher is like them, he is not looking for the truth, nor even the probable, he's looking for the amazing. It never occurred to him that metaphysics is a branch of literature of the fantastic, but his work belongs entirely to fiction and therefore also to Jorge Luis Borges.
THE ESSENTIAL CLOSENESS to death, a fleeting insight from this homemade hell where my struggles take place.
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The Voynich Manuscript has become a beacon for a secular community of quasi-Talmudic scholars whose interpretive ingenuity and stamina have few parallels.
Every morning on my way to work I pass La Grande Bibliothèque. It's an art installation by Guy Laramée.We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask so what? Do we really believe that “new technologies” will change anything concerning our existential dilemma, our human condition? And even if we could change the content of all the books on earth, would this change anything in relation to the domination of analytical knowledge over intuitive knowledge? What is it in ourselves that insists on grabbing, on casting the flow of experience into concepts?
When I was younger, I was very upset with the ideologies of progress. I wanted to destroy them by showing that we are still primitives. I had the profound intuition that as a species, we had not evolved that much. Now I see that our belief in progress stems from our fascination with the content of consciousness. Despite appearances, our current obsession for changing the forms in which we access culture is but a manifestation of this fascination.
My work, in 3D as well as in painting, originates from the very idea that ultimate knowledge could very well be an erosion instead of an accumulation. [...]
So I carve landscapes out of books and I paint romantic landscapes. Mountains of disused knowledge return to what they really are: mountains. They erode a bit more and they become hills. Then they flatten and become fields where apparently nothing is happening. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply IS. Fogs and clouds erase everything we know, everything we think we are.
After 30 years of practice, the only thing I still wish my art to do is this: to project us into this thick "cloud of unknowing."
"Do you know what word the Jesuits use to describe one of their order who has renounced his vows? They say he has become a 'satellite,' by which they mean that despite himself he remains in orbit around the Society, in a trajectory in which the forces of repulsion are in equilibrium with an attraction which he will never manage to eliminate. One doesn't leave the Society, one moves a greater or lesser distance away without ceasing, basically, to belong to it. And I have to admit that there is some truth in that way of looking at things. One can escape from slavery, although with difficulty, but never from several years of domestication; and that is what it is: training the body and the mind with one aim in view, obedience. So to 'disobey,' you know . . . Under those conditions the word doesn't have much sense. All it expresses is a mere temporary rejection of the law, a digression to be condemned, true, but that is remissible within the body of obedience itself. And if you think about it, you will have to admit that it's more or less the same for everyone. Breaking a rule, all the rules, always comes back to choosing new rules, that is, to returning to the bosom of obedience. You have the feeling you are liberating yourself, profoundly changing your being, when all you have done is to change your master. You know, the snake biting its own tail."
400 years after his birth there is a revival of interest in Kircher, perhaps because Kircher can be considered as the premodern root of postmodern thinking. With his labyrinthine mind, he was Jorge Luis Borges before Borges. In the years before Kircher's death and for 300 years afterward, he was derided as a dilettante and crackpot. The rationalism and specialization of Descartes had taken over. But at the start of the 21st century Kircher's taste for trivia, deception and wonder is back.
Kircher's postmodern qualities include his subversiveness, his celebrity, his technomania and his bizarre eclecticism. In an age of polymaths, Kircher was perhaps the most polymathic of them all. Like other Jesuits, Kircher was a religious man and a world scholar trying to prove that Aristotle and the Bible were right. He knew Hebrew, Aramaic Coptic, Persian, Latin and Greek. But Kircher was also a wild man, he got away with all-out heresy.
"Hey, do you mind if I tell you a story? One you might not have heard? All the elements in your body were forged many, many millions of years ago in the heart of a faraway star that exploded and died. That explosion scattered those elements across the desolations of deep space. After so, so many millions of years these elements came together to form new stars and new planets, and on and on it went. The elements came together and burst apart, forming shoes and ships and sealing wax, cabbages and kings! Until, eventually, they came together to make you. You are unique in the universe."
Maybe a mouse gets to thinking pretty early on how the whole world is run by these enormous feet. Well, from where I sit, I figure the world is run by one thing and this one thing only. Panic with a dog-face, devil-face, hag-face, whore-face, panic in capital letters with no face at all — it's the same Johnny Panic, awake or asleep.
Midway in our life's travel, I went astray
from the straight road and woke to find myself
alone in a dark wood.
"What are the events in life? It's like you see a door. The first time you come to it you say 'Oh, what's on the other side of the door?' Then you open a few doors, then you say 'I think I want to go over that bridge this time, I'm tired of doors.' Finally, you go through one of these things and you come out the other side and you realize that's all there are. Doors and windows and bridges and gates and they all open the same way and they all close behind you. Look, life is supposed to be a path and you go along and these things happen to you and they're supposed to change you, change your direction. But it turns out that's not true. It turns out the experiences are nothing. They're just some pennies that you pick up off the floor, stick in your pocket. You're just going in a straight line to you know where."
If the doors of perception were cleansed every thing would appear to man as it is, infinite.
For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.
Now that I have the clue to it, the thing seems written visibly in his face. I have a photograph in which that look of detachment has been caught and intensified. It reminds me of what a woman once said of him — a woman who had loved him greatly. "Suddenly," she said, "the interest goes out of him. He forgets you. He doesn't care a rap for you — under his very nose..."
Yet the interest was not always out of him, and when he was holding his attention to a thing Wallace could contrive to be an extremely successful man. His career, indeed, is set with successes.
I am more than half convinced that he had in truth, an abnormal gift, and a sense, something — I know not what — that in the guise of wall and door offered him an outlet, a secret and peculiar passage of escape into another and altogether more beautiful world. At any rate, you will say, it betrayed him in the end. But did it betray him? There you touch the inmost mystery of these dreamers, these men of vision and the imagination.
"For whom or for what are you in mourning?" she asked him point-blank, aware that this unexpected question shook him.
Eléazard felt his scalp tingle. He had reached the point of seeing the previous metaphor as representing his attitude to Elaine and of trying it out at random on the thousand and one aspects of his anguish, and with one word this stranger had hit the bull's eye.
"You're amazing!" he said with genuine admiration.
He thought: I'm in mourning for my love, for my youth, for an unsatisfactory world. I'm in mourning for mourning itself, for its twilight and for the soothing warmth of its lamentation. . .
But what he said was: "I'm in mourning for everything that has not succeeded in being born, for everything we do our best to destroy, for obscure reasons, every time it puts out a shoot. How can I put it . . . I can't understand why we always see beauty as a threat, happiness as degradation. . ."
The rain stopped, replaced by a silence spattered with drops and sudden trickles of water.
"We haven't got anywhere yet," said Loredana, screwing up her eyes.
Spring
To what purpose, April, do you return again?
Beauty is not enough.
You can no longer quiet me with the redness
Of little leaves opening stickily.
I know what I know.
The sun is hot on my neck as I observe
The spikes of the crocus.
The smell of the earth is good.
It is apparent that there is no death.
But what does that signify?
Not only under ground are the brains of men
Eaten by maggots.
Life in itself
Is nothing,
An empty cup, a flight of uncarpeted stairs.
It is not enough that yearly, down this hill,
April
Comes like an idiot, babbling and strewing flowers.
— Edna St. Vincent Millay
