11th October 2013
(in a degree of intensity that you could call him a writer)
but mostly and especially with words,
in the art field nowadays like to call "performance lectures".
지지를 하고 있는 것으로 생각되었습니다.
artistic speech and academic speech,
empowerment of a subject),
"external" sensory "data",
and the Problem of Matter" (1946), memory researcher Geoffrey Sonnabend wrote:
– 잊어버림과 물질의 문제’에서 이렇게 말합니다.
arrangement in sounding sequences,
his tongue, his lips, his teeth, his resounding and twitching body tells us.
등으로 언어의 ‘사실에 대한 거짓말’을 볼 수 있습니다.
(even if he does not really "convey" it or "explain" it).
(물론 그가 우리에게 실제로 설명해 주지 않을지라도 말이죠)
of language, the perceivable disappearance of sense as he speaks, as we speak, as it were.
speech and sculpture.
– omnipresent inexorable soundworld –
our minds and bodies, their matter.
video performance piece called "Thinking like a stone".
the crushing noise of the waves on the beach near his village to exercise his abilities,
and Parmenides (we will not speak of the work’s “nothingness” in the face of heat which is the
“one” of every living thing).
파르메나이데스 (모든 생명체의 일부인 작품의 ‘무’에 대해서는 언급하지 않는다)
indigestion in sulphurous clouds.
the last century.
who put a rabbit in front of the industrialization bearing down on it full tilt.
in which we bow our heads and grit our teeth while their grinning visages embroider the pipes
and wires of our magnificent cages.
미소지은 얼굴이 우리의 굉장한 새장 파이프와 철을 장식하는 기념물은 필요하지 않다.
warmth from third degree burns (“Distinguish there, Polonius, that cloud that looks very like
a camel from that other, that looks very like a mushroom.”)
구분하고 싶을 뿐이다
(“여기 보게, 폴로니우스, 저 구름은 다른 것과 달리 낙타와 매우 유사하군,
저건 버섯 같고”)
to water’s infinitesimal rate of sculpting.
through which Steam percolates?
the useful and deny the exhilarating excess of all metaphor, the very site of art.
의해 휘청하며 증발하는 공간