Citational Fragments

Mount Analogue

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Image cropped from_Mount Analogue_René Daumal

Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing by René Daumal 1908-1944.

In Daumal’s unfinished symbolic Novella a group of explorer’s come together to embark upon a quest to find the Mount Analogue of the Novel in a Yacht named the Impossible. Mount Analogue, a peak that reaches toward heaven although real in every sense of the term in that it it exists, has geographic co-ordinates and a population that are completely hidden from view. It can only be bought into view when the sun’s rays hit the earth at a particular point of view. The exhibition’s leader is Father Sogol or in otherwords the Logos, both fantastic, allegorical and metaphysical, it is a journey of faith. Continue reading →

Subjects of dispersal

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Hands:Holding by Rune T

‘Foucault uses the language of space to highlight the formative effects of discourse and the instability of the plane it constitutes. Foucault’s analytics and politics are inextricably linked to creating an alternative physics of space. His alternative spatial text-ure both represents itself as a more accurate depiction of the real work of power and shifts the paradigmatic grounds for conceiving power. Power has generally been conceived as a dichotomous structure pairing intent and result, cause and effect, oppressor and oppressed. But Foucault levels the dimensionality of the social edifice, making power, knowledge, and subjects alike the temporary internal effects of a dispersed, evanescent field. The subject loses its organic solidity to appear like a bubble within a perpetually plastic substance. Subjects appear ‘in-different’ neither casually prior to a power’s mechanism, not imaginative outside its perpetually [re]formative web: Continue reading →

Mirrors

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mirrors

(Absence.)

The perfect monochrome is a surface without any marks: uniform, textureless, polished: a mirror.
“Nothing” turns into “anything”: the perfect monochrome throws the world back at the spectator.

(Tautology.)

The mirror only reflects what is already there.
It can show anything, but it cannot make a difference.
It says: x = x.

(Narcissism.)

The only exception is the thing that cannot be duplicated: the subject.
The mirror returns the gaze of the observer. The subject becomes an object.

(Fun.)

A mirror surface with a non-uniform orientation presents a multiplied, fragmented and/or distorted image of the world and the viewer. Automated cubism becomes a joke.

(Infinity.)

A closed optical loop between two or more mirrors multiplies an image ad infinitum.
Pistoletto’s “Metrocubo d’Infinito” implements the thought experiment: What if there is no input image?

Text reproduced from http://radicalart.info/nothing/mirrors/index.html