geist gegen geist

07/04/2013

However, what Hegel misses is how, in humans, sexuality is not only transformed or civilized, but, much more radically, changed in its very substance: it is no longer the instinctual drive to reproduce, but a drive that finds itself thwarted in relation to its natural goal (reproduction) and thereby explodes into an infinite, properly meta-physical, passion. The becoming-cultural of sexuality is thus not the becoming-cultural of nature, but the attempt to domesticate a properly un- natural excess of the meta-physical sexual passion. This excess of negativity discernible in sex and apropos the rabble is the very dimension of “unruliness” identified by Kant as the violent freedom on account of which man, in contrast to animals, needs a master. So it is not just that sexuality is the animal substance which is then “sublated” into civilized modes and rituals, gentrified, disciplined, etc.―the excess of sexuality itself, sexuality as the unconditional Passion which threatens to explode all “civilized” constraints, is the result of Culture. In terms of Wagner’s Tristan: civilization is not only the universe of the Day, of the rituals and honors that bind us, but the Night itself, the infinite passion in which the two lovers want to dissolve their ordinary daily existence―animals know no such passion. In this way, civilization/Culture retroactively posits/transforms its own natural presupposition, retroactively “denaturalizes” nature itself―this is what Freud called the Id, libido. This is how, here also, in fighting its natural obstacle, its opposed natural substance, Spirit fights itself, its own essence.

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vot tak

06/27/2013

When Plato introduces three ontological levels (Ideas, their material copies, and copies of these copies) and dismisses art as the “copy of a copy,” what gets lost is that the Idea can only emerge in the distance that separates our ordinary material reality (the second level) from its copy. When we copy a material object, what we actually copy, what our copy refers to, is never this particular object itself but its Idea. It is similar to a mask which engenders a third reality, a ghost in the mask which is not the face hidden beneath it. In this precise sense, the Idea is the appearance as appearance (as Hegel and Lacan put it): the Idea is something that appears when reality (the first-level copy or imitation of the Idea) is itself copied. It is that which is in the copy more than the original itself. No wonder that Plato reacted in such a panicky way against the threat of art: as Lacan pointed out in his Seminar XI, art (as the copy of a copy) does not compete with material objects as “direct,” first-level copies of the Idea; rather, it competes with the supra-sensible Idea itself. We should take this redoubling of reality in the strongest sense, as a fundamental feature of the ontology of our world: every field of reality contains an enframed, separated, part which is not experienced as fully real, but as fiction.

mudlum:

04/18/2013

huh
hävitan kõik orjavitsad oma maa pealt!!!!
soo?
lihtsalt riisusin ja kaks okast torkasid mind nii, et kedervars kukkus kaevu ja takud said veriseks
kibuvitsa vana nimi on orjavits
jubedad konksud okkad
nad peaks nendega vereproove tegema

zaum on pepud

03/29/2013

ee-hee-hee-hee-hee… tagumikku kannickad 😀 😀 😀

Romans 3:10-12

11/11/2012

“There is no one righteous, not even one; there is no one who understands; there is no one who seeks God. All have turned away, they have together become worthless; there is no one who does good, not even one.”

character build

11/01/2012

sellise luuletaja saaks teha, kes kirjutab eesti keelt kirikuslaavi tähtedega. täis heavy metal oleks. vt. ka tohtkiri nr 292.

1

vara-vara

valgustan välja

pilvelõhkujate tipud

 

roosa kollane valge

 

eks ole

lausa mee- ja piimamaa värvid

 

oo New York

mu raskeim linn

 

üha vaevasem on mul siin

tänavatasandini jõuda

 

Wall Streetile näiteks

ei tõsta jalgagi

 

kord noorpõlves

nagu siiras rumal laps

näitasin kullale näpuga

 

inimesed poleks minuta

kulda kunagi leidnud

 

2

mis on töö

tühi tainasõtkumine

 

aga kuld on pärm

 

nii kerkisid ja kerkivad need

päikesetõkked

 

kõik kalade märgi all

 

rinnalekoputus

ristis nad pilvelõhkujaiks

 

need linnutapjad

 

kevadet njuujorklastele

kuulutavadki

laulikulaibakesed sillutisel

 

juhustmööda lausun

kõigile maailma lastele:

ärge põrgake vastu Ameerikat

 

see pole lihtsalt jänki värk

 

see on täismäng

panga peale

näpuveavundamendil

New York, 1975, Arvi Siig

“”Eva” intiimses hämaruses, mis on läbi imbunud kallite sigarite ja lõhnaõlide aroomidest, süttib prožektorite roheline valgusvihk. See rebib pimedusest lahti poleeritud tantsupõrandasõõri. Selles sõõris, pärlmutrises valguskoonuses, algab naisterahva surmaheitlus hiiglasliku rohelise maoga. Võitlus käib orkestri venivate ulgumiste saatel.

Vaatepilt tervikuna on üsna vastik; mul pole midagi mao – ohutu rohelisest plüüsist mänguasja – vastu; kuid surmaheitlus osutub tegelikult himuraks kaisutuseks, selline pilt aga saab olla ainult psühhopaadi vaimutoiduks.

Prožektorikiirtes tantsivat mulatitari – maoga võitlevat naist – on ära tüüdanud plüüskoletise põimimine ümber oma keha; ta heidab mao tantsupõrandale, trombooni hala vaikib, algab maruline rumba; selle saatel hakkab mulatitar end pööraselt väristama, nii et banaanikimpudest, mis moodustavad kogu tema tualeti, lendavad igasse külge kollased troopikaviljad. Üks banaan kukub mu kinga kõrvale, kuid ma viskan selle hooletu liigutusega eemale – ma ei hooli banaanidest, eriti, kui need on plastmassist.”

Bogomil Rajnov “Surra tohib vaid äärmisel juhul”. Sotsialistliku Bulgaaria autori põhiliselt Suurbritannias toimuv spioonipõnevik.

aristotelees

07/25/2012

öeldakse, et üks filosoof on seda parem, mida vanem ta on.

Milline õnn see oli, kui sa esimese armumise aegu suvila ette lagendikule läksid ja nägid tütarlast äkki teise kleidiga – mitte sellega, millega olid harjunud teda nägema, vaid teise, uue, nähtavasti nüüdsama valmissaanud kleidiga. Tundub, et see oli sinine, kraeäärt, allserva ja varrukaotsi kaunistas punane pael. Armastatu ilmumine uues kleidis paisutas armastuse peaaegu südamekloppeni, peaaegu oigeni. Lausa kartsid talle lähemale minna, ja ka tema, endast vaimustatud, jäi seisma tumeda puu kõrvale, juuksekiharad eemaltki selgesti nähtavad. Meie vahel oli siiluke sügisest mättalist maad, kus lehed äkki niisama heast peast uperpallitama hakkasid.

(Vene keelest tõlkinud Maret Käbin.)