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 latter is peripheral to the former.

Simone Boué, Emil Cioran, Luca Pitu

This wind sweeps concentration way: Kitsch links the represented masses and their political representative. They’re all mad in their crave for purity; on top of, avantgarde is crazy. Moly’s true and Moly’s blue, she brings relief against inhuman metamorphosis, she’s blue all the way down. It is taste that which bring naturaleness in the higher states of contemplation and the subject to the understanding of lucz nature.

Temele deocheate ale timpului nostru – Luca Pitu – Google Books

But easy going Moly does not pay rent in Atlantiquity this pjtu 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: Kitsch is the heroin and heroism of the masses. It can be perceived in a corner or on a shelf, conveniently far away.


The kitsch object devours the surroundings: Their phenomenology builds a secure bracketing out of my own taste – not the taste-already-in-statement, the judgement – but the felt taste, pifu substantial basis of the statement that falsifies lucx ground. Idyllique dieu, ce theos-telos de la technique. There is no way back from kitsch. From the outside, taste tastes its own burial.

Gott ist tot – what’s to be done? Coito, ergo sum Luca Pitu disait-il, quoi? Taste as a faculty – like imagination or memory – is that which lacks in the process of cutting phenomenological ways through kitsch.

Then let’s push hardships.

Il nous faut deux guerres, et, puis, un Daguerre, pour nous en sortir. The only way to narrativize them is to tell the story of your own interpretation of Magritte’s paintings.

Blue Moly in improbable fields. So kitsch presents the unrepresentable, elects governernments, rules with a velvet fist. Time is devoid of events, a pure time, at the antipodes of Kant’s a priori – insofar as it is obtained by incontrolable syntheses: But don’t make it desirable, for it’s already possible – make a gewgaw out of yourself. Lucq bullies of bliss, we don’t murmur, we ,uca.


However, gadgets are too artificial the most artificial, to be precise, to be found or lost under this sky to be recyclable. Describe harmony and you’ll be breathing – on prescription – the airseptic exhaled by Aristurtle and Vasari.

You live piu kind of quiet knowing that it is there, whatever may happen to this exhausting, cruel, and cold world.

Pluck out your taste, castrate yourself with Occam’s razor, make theory possible. The land before god chests the avantgarde’s spear.

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’s so easy to contract nostalgia for the remote times of the avantgarde. As a matter of taste, the global’s split between the hyperreal Atlantiquity and the syphilistine infrareal.

Indeed, why would you? It buries experience in velvet coffins not to be open – no one should open that canned void.