A moving prism

TOUSSAINT, the most unhappy man of men!  Whether the whistling Rustic tend his plough Within thy hearing, or thy head be now  Pillowed in some deep dungeon’s earless den;— O miserable Chieftain! where and when Wilt thou find patience? Yet die not; do thou Wear rather in thy bonds a cheerful brow: Though fallen thyself, never to rise again, Live, and take comfort. Thou hast left behind Powers that will work for thee; air, earth, and skies; There’s not a breathing of the common wind That will forget thee; thou hast great allies; Thy friends are exultations, agonies, And love, and man’s unconquerable mind.  ___William Wordsworth (1770–1850)

The dragon devouring the companions of Cadmus by Hendrick Goltzius » These dead are supremely uninterested in the living: in those who took their lives; in witnesses—and in us. Why should they seek our gaze? What would they have to say to us? "We"—this "we" is everyone who has never experienced anything like what they went through—don't understand. We don't get it. We truly can't imagine what it was like. We can't imagine how dreadful, how terrifying war is; and  how normal it becomes. Can't understand, can't imagine. That's what every soldier, and every journalist and aid worker and independent observer who has put in time under fire, and had the luck to elude the death that struck down others nearby, stubbornly feels. And they are right. — Susan Sontag, Regarding the Pain of Others (2003)

Empire | Michael Hardt, Antonio Negri | page 103 Empire | Michael Hardt, Antonio Negri | page 103

Empire | Michael Hardt, Antonio Negri | page 32

Entr'acte , René Clair - (1924) The virtual image which becomes actual does not do so directly, but becomes actual in a different image, which itself plays the role of virtual image being actualized in a third, and so on to infinity: The dream is not a metaphor but a series of anamor phoses which sketch out a very large circuit. [....] When the sleeper is given over to the actual luminous sensation of a green surface broken by white patches, the dreamer who lives in the sleeper may evoke the image of a meadow dotted with flowers, but this image is only actualized by already becoming the image of a billiard table furnished with balls, which in turn does not become actual without becoming something else. These are not metaphors, but a becoming which can by right continue to infinity. In René Clair's Entr'acte, the dancer's tutu seen from beneath 'spreads out like a flower', and the flower 'opens and closes its corolla, enlarges its petals, and lengthens its st...

Berlin, Unter den Linden, 1945 It could happen to someone looking back over his life that he realized that almost all the deeper obligations he had endured in its course originated in people who everyone agreed had the traits of a “destructive character.” He would stumble on this fact one day, perhaps by chance, and the heavier the shock dealt to him, the better his chances of re presenting the destructive character. The destructive character knows only one watchword: make room. And only one activity: clearing away. His need for fresh air and open space is stronger than any hatred. The destructive character is young and cheerful. For destroying rejuvenate, because it clears away the traces of our own age; it cheers, because everything cleared away means to the destroyer a complete reduction, indeed a rooting out, out of his own condition. Really, only the insight into how radically the world is simplified when tested for its worthiness for destruction leads to such an Apollonian image ...

» I shall not be alone, in the beginning. (I am of course alone.) Alone. That is soon said. (Things have to be soon said.) And how can one be sure, in such darkness? I shall have company. In the beginning. A few puppets. Then I'll scatter them, to the winds, if I can. — Samuel Beckett, The Unnamable