Temele deocheate ale timpului nostru. Front Cover. Luca Pitu. Paralela, – pages Author, Luca Pitu. Publisher, Paralela, ISBN, exert an influence, intr-un volum recent, Luca Pitu soloseste sintagma “grupul de la Iaşi” (Luca Pițu, Documentele antume ale “Grupului de la Iaşi (Iasi, ). Read 50 publications, and contact Luca Canetta on ResearchGate, the École Polytechnique Fédérale de Lausanne. A.F. Pitu. Politecnico di Milano. Projects.

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Gott ist tot – what’s to be done? Their adoring swallowers, the syphilistines, suffocate and smile, groan and buy.

Their phenomenology builds a secure bracketing out of my own taste – not the taste-already-in-statement, the judgement – but the felt taste, the substantial basis of the statement that falsifies its ground. For the syphilistine, the kitsch object is an angelic sign which protects him from himself, a symbol of gentle possession.

We’re bullies of bliss, we don’t murmur, we state. It’s so easy to contract nostalgia for the remote times of the avantgarde. The land before god chests the avantgarde’s spear. But easy going Moly does not pay rent in Atlantiquity this hints to what you know about Atlantiquity, to which I can’t attend verbally ; she’s before that, between you and that remote improbability which is the land of the avantgarde: Your transparent your self Narcisse, m’a b ime Publications: There is no way back from kitsch.

It can be perceived in a corner or on a shelf, conveniently far away. Describe harmony and you’ll be breathing – on prescription – the airseptic exhaled by Aristurtle and Vasari. Idyllique dieu, ce theos-telos de la technique. They’re all mad in their crave for purity; on top of, avantgarde is crazy. Fearful angels, sweetened by syphilistines: So kitsch presents the unrepresentable, elects governernments, rules with a velvet fist.


It buries experience in velvet coffins not to be open – no one should open that canned void.

Simone Boué, Emil Cioran, Luca Pitu | napalmtop | Flickr

The only way to narrativize them is to tell the story of your own interpretation of Magritte’s paintings. It tames, it brings the quiet the one sought afterand happiness potu the heart of the syphilistines and delivers them to their elected leaders. Taste hyperhates the many.

The latter is peripheral to the former.

Il nous faut deux guerres, et, puis, un Daguerre, pour nous en sortir. Unless you hide – under the crimson moving wounds or under the clean sheet of freckled skin – the scars with which history has marked you, you’ll be in the arrieregarde of the avantgarde.

All these are stories about how we can’t make stories. Kitsch links the represented masses and their political representative. Taste as a faculty – like imagination or memory – is that which lacks in the process of cutting phenomenological ways through kitsch. You can’t tell what’s going on in Magritte’s paintings, can’t make stories out of them.

Simone Boué, Emil Cioran, Luca Pitu

And their business goes that well in spite of their accusations and because of them. From the outside, taste tastes its own burial. Kitsch is the heroin and ptu of the masses. Moly’s true and Moly’s blue, she brings relief against inhuman metamorphosis, she’s blue all the way down.


You live a kind of quiet knowing that it is piti, whatever may happen to this exhausting, cruel, and cold world. Then let’s push hardships.

As a matter of taste, the global’s split between the hyperreal Atlantiquity and the syphilistine infrareal. Pluck out your taste, castrate yourself with Occam’s razor, make theory possible.

Coito, ergo sum Luca Pitu disait-il, quoi? This potu sweeps concentration way: Blue Moly in improbable fields. But don’t make it desirable, for it’s already possible – make a gewgaw out of yourself. Nature knows better than kitsch and what she does not know better, she forgets ; it simply lacks this possibility – no color combination, no shapes in ljca are kitsch.

However, gadgets are too artificial the most artificial, to be precise, to be found or lost under this sky to be recyclable.

Your transparent your self Narcisse, m’a b ime. Indeed, why would you? It is taste that which bring naturaleness pjtu the higher states of contemplation and the subject to the understanding of its nature. Who’s there to weep it? Kitsch engineers the distance it has to be perceived from, together with the continuous attraction it exerts, that gently undermines that distance.

The kitsch object devours the surroundings: Time is devoid of events, a pure time, at the antipodes of Kant’s a priori – insofar as it is obtained by incontrolable syntheses: It is naked force tamed by numbers.