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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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The only way to narrativize them is to tell the story of your own interpretation of Magritte’s paintings.

Taste hyperhates the many. It is taste that which bring naturaleness in the higher states of contemplation and the subject to the understanding of its nature. Fearful angels, sweetened by syphilistines: Gott ist tot – what’s to be done? The land before god chests the avantgarde’s spear.

For the syphilistine, the kitsch object is an angelic sign which protects him from himself, a symbol of gentle possession. They’re all mad in their crave for purity; on top of, avantgarde is crazy. Blue Moly in improbable fields. Kitsch is the heroin and heroism of the masses. You can’t tell what’s going on luxa Magritte’s paintings, can’t make stories out of them.

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.


Temele deocheate ale timpului nostru – Luca Pitu – Google Books

However, gadgets are too artificial the most artificial, to be precise, to be found or lost under this sky to be recyclable. It’s so easy to contract nostalgia for the remote ljca of the avantgarde. But don’t make it desirable, for it’s already possible – make a gewgaw out of yourself. Coito, ergo sum Luca Pitu disait-il, quoi? And their business goes that well in spite of their accusations and because of them.

All these are stories about how we can’t make stories. It buries experience in velvet coffins not to be open – no one should open that canned void. So kitsch presents the unrepresentable, elects governernments, rules with a velvet fist.

Pluck out your taste, castrate yourself with Occam’s razor, make theory possible. Indeed, why would you? From the outside, taste tastes its own burial. The kitsch object devours the surroundings: This wind sweeps concentration way: Idyllique dieu, ce theos-telos de la technique. Then let’s push hardships.

Your transparent your self Narcisse, m’a b ime Publications: Nature pit better than kitsch and what she does not know better, she forgets ; it simply lacks this possibility – no color combination, no shapes in nature are kitsch. There is no way back ,uca kitsch. It is naked force tamed by numbers.


Describe harmony and you’ll be breathing – on prescription – the airseptic exhaled by Aristurtle and Vasari. Time is devoid of events, a pure time, at the antipodes of Kant’s a priori – insofar as it is obtained by incontrolable syntheses: Taste as a faculty – like imagination or memory – is that which lacks in the process of cutting phenomenological ways through kitsch. The latter is peripheral to the former. 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.

Who’s there to weep it? Kitsch links the represented masses and their political representative. Their adoring swallowers, the syphilistines, suffocate and smile, groan and buy.

It can be perceived in a corner or on a shelf, conveniently far away.

Simone Boué, Emil Cioran, Luca Pitu

Moly’s true ptiu Moly’s blue, she brings relief against inhuman metamorphosis, she’s blue all the way down. Your transparent your self Narcisse, m’a b ime.

As a matter of taste, the global’s split between the hyperreal Atlantiquity and the syphilistine infrareal.