riceandweed on Nostr: “Climbing onto the stage, the "baby Don Quixote" forces himself to enumerate his ...
“Climbing onto the stage, the
"baby Don Quixote" forces himself to enumerate his own cruel, destruc tive impulses. Exposing himself stark naked, he is forced to admit what Sade and Piranesi, in different ways, had announced to the world: that where the logic of assassination has taken over, the greatest pleasure is in being simultaneously torturer and tortured; that it is useless to wander through the city looking for the guilty one, inasmuch as "guilt" is found in the flesh and blood of the prisoner as well as the imprisoner; that the devastation wreaked on linguistic institutions appears first as grotesque farce, then as tragedy. By making a code of such infractions, mountains of rubble will be obtained. I can limit myself to heaping these fragments into piles, to manipulating them into assemblages poised between utopia and heterotopia, to forcing once communicating signals to react to the incon gruous juxtaposition to which I oblige them; but the very fact that I express this desire to assume the guise of the executioner"represents," and only represents, the fiction of my fabulations. Cruel as they may be, they remain within the enclosure where I keep them. The space separating them from the chain of events that, despite everything, transforms each deconstruction into a new universe of discourse is infinitesimal.
Why should we be surprised, then, if, in the early 1920s, there was an attempt to confront with institutional structures the logic, perfect in itself, of the illogical? If the attempt was made, that is, to transform the "bridge" uniting the devastated language with the reality that reduced it to such a state into a "door," suddenly thrown open onto the extreme boundary that divides and rejoins object and subject?” - The Adventures of Avant Garde, Manfredo Tafuri
"baby Don Quixote" forces himself to enumerate his own cruel, destruc tive impulses. Exposing himself stark naked, he is forced to admit what Sade and Piranesi, in different ways, had announced to the world: that where the logic of assassination has taken over, the greatest pleasure is in being simultaneously torturer and tortured; that it is useless to wander through the city looking for the guilty one, inasmuch as "guilt" is found in the flesh and blood of the prisoner as well as the imprisoner; that the devastation wreaked on linguistic institutions appears first as grotesque farce, then as tragedy. By making a code of such infractions, mountains of rubble will be obtained. I can limit myself to heaping these fragments into piles, to manipulating them into assemblages poised between utopia and heterotopia, to forcing once communicating signals to react to the incon gruous juxtaposition to which I oblige them; but the very fact that I express this desire to assume the guise of the executioner"represents," and only represents, the fiction of my fabulations. Cruel as they may be, they remain within the enclosure where I keep them. The space separating them from the chain of events that, despite everything, transforms each deconstruction into a new universe of discourse is infinitesimal.
Why should we be surprised, then, if, in the early 1920s, there was an attempt to confront with institutional structures the logic, perfect in itself, of the illogical? If the attempt was made, that is, to transform the "bridge" uniting the devastated language with the reality that reduced it to such a state into a "door," suddenly thrown open onto the extreme boundary that divides and rejoins object and subject?” - The Adventures of Avant Garde, Manfredo Tafuri