Q ant start recalling some beautiful words of Peter Sloterdijk, because in her breath I can find the right tone of the scene:
He who is not a prisoner of his self or is a prisoner of his self-denial free. He who knows freedom created himself as a child born into the world ... Makes his life an expedition to the wilds of Being found between sincerity and the gift of invention ...
The call that brings us together referred to fight a possible split I against me, apparently assumes many things, unusual ones, conventional others, a tight, open others. It's a metaphor but also a structure invites the freest passage and hide their traps without warning. Presupposes the existence of such self-criticism, which can in turn necessarily implies the possibility of criticism, whose rationale presupposes autonomous work of art, which in turn presupposes the existence of the artist genealogically, which is one condition that the person reaches precisely by virtue of the existence of the work, and assumes that it is capable of being recognized as such beyond the person the artist separate himself from other work and turn his status as a person of artistic attribution.
A labyrinth indeed. And the mazes are metaphors, but they are also architectural structures invented to play to ensure lost or hidden in secret. Imprisonment and a trap game in which people succumb to the pleasure of the loss. The
Myth tells us that the enigma was defeated by false wings of Icarus and the thread that Ariadne was undressing. In both cases, out of the labyrinth was a trap worse for Icarus was the vacuum, Ariadne was Naxos, the island's obsessive circular thinking.
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