A Lovers Discourse by Roland Barthes consists of a peripatetic fragmentary writing which explores the ‘extreme solititude’ that is a lovers discourse evicted by authoritative discourses, placed outside as it were, yet perhaps spoken by ‘thousands of subjects’. It is as Barthes explains a structural portrait of ‘someone speaking within himself, amorously, confronting the other [the loved object], who does not speak. Barthes takes us on a discursive journey, a performative utterance and structure of address to the other through absence, affirmation, waiting, circumscribing, contingencies, bodies, declaration, embrace, image, the unknowable, langour and silence. Continue reading
‘A word may give me its meaning, but first it suppresses it. For me to be able to say,
‘This woman’ I must somehow take her flesh and blood reality away from her,
cause her to be absent, annihilate her. The word gives me the being, but it gives it
to me deprived of being. The word is the absence of that being, its nothingness,
what is left of it when it has lost being – the very fact that it does not exist.”
Blanchot, The Gaze of the Orpheus: pp41-42
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.
The mirror only reflects what is already there.
It can show anything, but it cannot make a difference.
It says: x = x.
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.
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.
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