But the reaction to the exhibition from Japan — where the decline in popularity of the kimono as a form of dress is a national concern — was one of puzzlement and sadness. Many Japanese commentators expressed regret that fewer people would get to experience wearing a kimono.
By decoupling human agency from the immediacy of expression and instead reintroducing it at the stage of creative composition we are preparing the stage for a new type of writing. Nevertheless, when we do so we are still inhabiting the world that the Oulipoets from the 1960s would recognise. It is a phase in a literary evolution that has not been taken to its limits, that hasn’t transformed into a radically new literary being just yet. We could say that the ontology of literature is still authored, analog, and un-automated.
Why would a wealthy diamond merchant in a three-thousand-dollar suit want to cheat me out of a hundred bucks’ worth of gold?
The library makes this hidden power explicit: anything that can be referenced in language or accessible to experience must be separable from itself—a thought, a perception, a word can be made of it. This may undermine our sense of the simple presence of things, but it allows for everything interesting in the world: fantasy, lies, illusions, imagination, and fiction. If it weren’t possible for us to say “Here is a human” when nothing of the sort is present, fiction would be impossible, and we would never have embarked on the strange pursuit that, for some time now, we have called literature.
[A] house cat’s front claws are wonderfully designed: sharp, compact, strong, lightweight and retractable. But by Monteiro’s definition if you’re a mouse or a bird, the claws are a bad design, since they are made to kill you. It might be unfortunate, or even evil (from the bird’s perspective), that such a design exists, but for the purpose it was designed for it’s an excellent design.
The story of the making of 70s cult classic Steppenwolf is as weird and decadent as the film. Jenny Fabian was there.