race: n; to what end?
rage: n; rage is most attractive when it is dressed in eloquence.
read: v; reading is not exactly the feeling of being in transit. it is instead the sense of being closer. but, closer to what? no one knows. and this is a good thing. and this is also why i am a reader and therefore, a writer.
reader: n; 1. the reader leads a life that is directly opposite to the life led by the non-reader. the reader's life and world is one defined and populated by words, by species of language, by molecules and atoms of ideas. where the non-reader will open a book for a distraction from life, so too will the reader set down its book and escape its world by socializing, or eating, or sleeping. 2. i am what i read, as we all are, as are those who read nothing.
reading: v; 1. reading creates time/space (think of it as a room). this room has a shape. it is the dimensions of this room which fiction/history attempt to measure. 2. when reading one must always be more intelligent than a cat. when someone points to something a cat will always look at the pointing hand instead of in the direction the hand is pointing. when reading one must always look to where what is written is pointing and must not simply stare at the finger of what is written. 3. a private matter between a human and nothingness. 4. the great writer causes us to read differently. such a change is revolutionary. 5. “reading is an anarchic act”. Hans Magnus Enzensberger. 6. people who do not read have books by the toilet.
realism: n; 1. the work of any realist expression is nothing more than piling sandbags one after another in hopes that the flooding of the river-of-how-things-actually-are does not affect them. in other words, they do not want to experience the sur-reality of this river. 2. representations of the body act as muzzles for self-expression. these bodies occupy the space required for the consideration and imagination (the births) of possible self-expressed bodies.
reality: n; 1. if we were to think of our lives as a very large house then this implies that there is an outside. but if we include the condition that we can never go outside, or that we even rarely are able to find a door or a window then effectively for us there is nothing outside of our house. yet, for us to think of ourselves as living in a house, this image implies an outside which allows the house to exist. my difficulty lies in going outside and then relating to people what i have discovered in this place which most people think does not exist. an interesting aspect about leaving one's house is that when one is outside, one is a stranger to oneself; you do not recognize yourself and only with practice can one remember later that the stranger you heard outside and perhaps whose shadow you saw from your window was in fact yourself. 2. the real is our habit and we wear it, always. 3. reality is rooted in consent. 4. anything that stands in opposition to a system of power will be actively ignored by that system. 5. a good indication of how things really are can be founf in dull children.
rear: n; a person can never be ahead of their time. usually they are behind.
reason: n; 1. according to Leibniz (as formulated by Heidegger) “for every truth, a reason can be given”. this statement can be interpreted in two directions. firstly, one can read this as saying for every truth, a reason can be given (to something). this would be the indeterminate form where what is given (the reason that is given) is given to something which is unspecified. what is implied by this is that for every truth, something can be given a basis (justification). this is the same as saying that if something has a basis, then somewhere there is a truth. this case (of interpretation) is not as interesting or relevant as is the second or specified case. in the second case the statement can be read as saying for every truth, a reason can be given (to that truth). implied in this is that every truth can have a basis which is the same as saying that every truth will accept a basis. if a particular reason cannot be given to a truth it means either i) the truth is a non-truth with respect to the particular reason which cannot be given to it, or ii) the reason is a non-reason with respect to the truth to which it cannot be given, or both i) and ii). if no reason at all can be given to a truth this means that either iii) the truth is a non-truth, or iv) the reason is a non-reason, or both iii) and iv). what is interesting in the implications for this second case is that if a truth exists without a reason it is commonly held that it is not a truth (this is the sense that science for instance operates under). however, this is not the only explanation; a truth can exist without a reason because no reason has yet been found (science as well as the law also operate under this sense). however, both science and the law (and everything else that depends on reason) necessarily believes that ultimately a reason will be found for the existent truth for which there is as of yet no reason. if such a thing wasn't believed then what would be being investigated would not be truth at all. it is however my view that what exists without reason may be so because there is no possibility of discovering a reason. this does not mean that what exists is not a truth, it only means that the ability to uncover reasons is limited.
note:(identical in its implications to this second case is a third interpretation in which the statement can be read as saying for every truth, a reason can be given (for/to represent that truth).
2. a reduction, a levelling. every world/concern implies (brings into presence) possible meta-worlds/concerns. the shape of such a collection of worlds/concerns and meta-worlds/concerns is very complex. reason flattens everything out. this levelling is an assumption of a privileged perspective, it is the reduction which is unavoidably effected by any authority. 3. reason is a snow-fence the soul erects to distance itself from its drifting body. 4. when in a crisis, when strained, reason (against its will) reveals its complicity with (social) privilege and established power structures. 5. “Irrationalism is only the obvious weakness and failure of rationalism and hence itself a kind of rationalism. Irrationalism is a way out of rationalism, an escape which does not lead into the open but merely entangles us more in rationalism, because it gives rise to the opinion that we can overcome rationalism by simply saying no to it, whereas this only makes its machinations the more dangerous by hiding them from view.”- Heidegger. 6. a game played in an orphanage. 7. you notice the most elegant trap only after you have been caught. 8. “if we do not expect reason, we shall not find it.”- K. Jaspers. 9. “a large part of reason is not to mistake our own thoughts and wishes for reason itself.”- K. Jaspers.
reassurance: n; all the world is a stage and everyone else has read the script except for me. as i perform, speechless, i hear something whispering from the darkness, from the un-stage. the voice assures me that even though everyone else has read the script no one understood a single word.
rebuttal: n; for a writer with anything of consequence to say, that is, anything disruptively creative, it is unreasonable to expect any form of acceptance beyond a few individuals. from the mob, and from those literary professionals in their comfortable positions of declension, all that will be welcomed will be your death. at last they will be able to engage you without having to endure your rebuttal; at last they will be able to seize your words and thoughts, thoroughly discrediting and debasing them, and with glee emptying them of all relevance.
receptacle: n; 1. the arrangement of images and metaphors, which are shadows of the shadows of that which is beyond our ability to touch with our minds, such an arrangement is the construction of a suitable container which might become inhabited by this untouchable aspect of the world. a successful example of such an arrangement is able to call this untouchable aspect of the world forth; it is able to contain it and is capable of becoming changed, transmuted by it. at last, once altered, such a receptacle is emptied, abandoned. in this abandoned and transmuted state the receptacle retains a memory of its contact with the untouchable aspect of the world. 2. an indication of dehumanizing tendencies is the development of technologies which offer inert receptacles for human behaviors. humans are social beings and use language for social creation (community building). cellular phones and computers which are offered as tools to aid in community building and which demand linguistic input in fact function in the opposite way, as isolating devices, that is, as bottomless receptacles for positive human behaviors.
recognition: n; recognition implies repetition. cognition depends on petition, on quest.
recreate: n; recreate is neighboured by recreant (coward) and recrement (waste product, e.g. bile)
recurrence: n; for a moment to recur it must reside in a closed system and it must have experienced a cataclysm— a definite end of time and a subsequent beginning of time. therefore, to be a part of something that recurs one must have been destroyed and then resurrected. but this seems unlikely and so either nothing recurs, or that which recurs does so irrespective of us— our being resists destruction at every moment and so, resists recurrence.
recusant: n; a poet does not go to heaven. and that is why they are a poet.
redefinition: n; money is related to Money in the same way that language is related to Language. both terms of the comparison (e.g. Money and money) are manifestations of each other, both entail the existence of the other. both Money and Language (along with their particular manifestations) are historical (historically limited). that is, they are not excluded / above time's effects. as such, they can be re-defined, re-limited.
redemption: n; it is etymologically related to buy or purchase. perhaps this is the root of the idea that redemption is an act of purchasing liberation. one may think of such a purchase in this way. what is to be bought back is something which is lacking. this thing that is lacking one may think of as the contents of a container. now this container has a definite shape and therefore a fixed volume. this volume of emptiness is the value or price of what can fill this container. therefore redemption is the purchase of an adequate amount of material to fill the container. interestingly, the opposite may also be true, that is, the aim is not to fill the container but to empty it, completely.
redundancy: n; 1. if one supposes that everyone is interconnected then perhaps i can explain what it is that draws me to the books i choose to read. i am attracted to the unread book, or at the very most the seldom read book. if things are as i have said above, then to read books that everyone else is reading is simply being redundant. if an organism has ten billion eyes i don't find it very impressive if it uses all ten billion eyes to see what two eyes can see equally as well. 2. the term dysfunctional family is redundant; as well, its usage in regular conversation is an indication of idiocy. 3. for example: terrible war. in such a case of redundancy there are two possible readings. firstly, the speaker may be purposely redundant, that is, the speaker may be using hyperbole in which case the speaker understands that war is terrible and is trying to underscore its terrible nature. the other reading is that the speaker does not know they are being redundant (and in fact may not even think they are being redundant). such a speaker would view war as a neutral or even a positive thing of which the example being discussed just happens to be a terrible example. 4. like tides redundancy in speech suggests some unseen force acting globally, directing one's use of language.
referendum: n; “the referendum is always an ultimatum.” - J. Baudrillard
regard: v; the most frightening thing for a contemporary person to do is to encounter the world (and all of its objects and intricacies) not as it but as thou. the reason it is frightening is that the first thing the world does is express its anger, its frustration. everywhere and everything challenges you with the accusation what have you done to me? what are you doing to me?
regret: n; the regret of not having a child always seemed more desirable than the regret of having a child.
rejection: n; 1. rejection does not mean censorship, it means rejection. 2. any form of acceptance which requires payment, or some form of demonstration of worth or commensurability, or any obsequious display before a traditional or presumed authority, is in fact a rejection.
relevance: n; anyone who writes, and especially anyone who writes or even aspires to write poems must continually ask oneself of what relevance is this which i am writing or wish to write? to proceed one must find answers, provisional answers which are not really answers but are merely justifications, artificial justifications for proceeding. one requires these justifications, these artificial solutions in order to produce (if one is very fortunate) something which makes apparent how very relevant it is.
relic: n; relics are imperfect representations of the circles (the unities, the perfections) that have been undone [relics = cir(c)les].
relief: n; relief is death’s maiden name.
religion: n; 1. it seems there is an inherent flaw in any religious doctrine which stresses the rejection of eroticism or sexuality in the religious experience. the goal of any religion is integration of the religious experience within an individual's life. however, sexuality is an integral part of every individual's life and cannot simply be excised. therefore, to integrate the religious experience one will necessarily have to integrate it into the field of sexual experience for it to be completely integrated into the life of an individual. 2. etymologically religion is reliance. 3. a retreat from the terrors of contemporary existence is understandable but it is also disappointing.
remainder: n; the poor are the sublime object, the unsightly remainder, of conservative economics.
remember: v; 1. to re-body, re-flesh, re-surrect. it implies something that has already been gathered, something that was whole and is now perceived as being in pieces. remembering is just not membering, or embodying. the prefix re suggests that we are revisiting something, that we are re-turning. remembering is a reconstitution (and recognition) of a wholeness that was lost to us. 2. when i understand remembering etymologically it becomes religious.
reminisce: v; all that has ever occurred, all that has ever been created or destroyed, all that has ever lived was an attempt to recall into being that which had once before existed. being is the reminiscence of what was once before.
renunciation: n; all transcendental encounters with art necessarily involve a subsequent act of renunciation.
repair: v; holes appear and then grow into chasms. living becomes isolated, dis-integrated. i cover the holes, the chasms with paper, re-integrating my living with others. but my paper is an imperfect remedy. it is itself filled with holes, tiny holes in the shape of letters through which i can see, through which i am reminded of the darkness which is always there beneath me.
repetition: n; 1. if living is a repetition (circular), and if we also believe that our living proceeds from what is known towards encounters with what is unknown, there is a contradiction. if living is a repetition, then we either: proceed from what is known and encounter only what is known, or, in order to encounter what is unknown, what is taken to be known (a priori) must also be unknown. the image of a circle as representative of repetition has the above contradiction implicit in it. perhaps another representation, a spiral for instance, might eliminate the contradiction. the spiral could be seen as a temporalization (an increase of a dimension) of the circle. the interesting thing about the spiral is that when considered as a representation of repetition, every cycle of repetition is slightly altered, what was becomes something different, what was taken to be constant, or known, is not really as it was and so is not really known. therefore, a spiral proceeds from what is known to what is unknown; at the same time, co-incident with this process, the known becomes altered and so is a pseudo-known or more specifically, an unknown; as well, the unknown that is encountered is suddenly a known. so the spiral representation of repetition allows for both the following statements to be true co-incidentally: our living proceeds from the known to the unknown; our living proceeds from the unknown to the known. maybe a better way of describing this may be that our living proceeds from a locally-known / globally-unknown to locally-unknown / globally-unknown and vice versa. 2. repetition is a symptom of limitation. it proceeds from the experience of a limitation as (or wish that a specific limitation is) something unreal, something that will vanish if i encounter it properly. 3. repetition is a powerful creative variable when resources are limited. often, it is the only available variable. 4. re-formulation / re-interpretation is a form of repetition. it is keeping something close at hand without fully grasping it. 5. the currency of limited means.
replacement: n; it was once said that machines are invented to do the tasks that humans no longer want to do. if this is true, then why do we/others wish to build thinking machines?
repose: n; the desire for repose, the striving for an end to all negotiation of experience, opens the door to disturbance, chaos, and therefore... extreme anxiety. contrary to this is an understanding that life must be consciously negotiated and that there is no meta-bed in which to both rest and live. what this understanding does is clear a space of repose; such a space can come to exist in no other way.
representation: n; 1. the paradox of representation is that it is always a presentation. it may in fact be nothing more than a presentation, a presence. the 're' of re-presentation may indicate a desire to present again, to re-turn and re-trieve something. but this may just be an impossible wish. the fantasy of mimesis, of imitation ( cognate with rival ) gives way to memory in such a way that every presentation is an act of memory ( etymologically, an act of mind ). and if we think of memory as a place (as mind) then any presentation is a re-turn, a re-membrance. etymologically, memory is opposed to mimesis (and its cognate rival); memory is derived from the Greek mermera, which is: care; trouble; anxiety. mimesis betrays antipathy towards its subject whereas memory professes sympathy. 2. the media and other manifestations of institutional power are afraid of art because art is disruptive, revolutionary ... powerful. and so, there will no attention to authentic art wherever institutional power is represented. anything that does appear using the name art can only be an impostor and its only function is to undermine authentic art. in other words, whatever is represented as art will be trivial or will be presented as trivial and will have the effect of assuring those that live without art that they are missing nothing of any consequence. of course, any representation (or lack of representation) can speak against its intended purpose. a specific lack of content can sabotage the content. the presentation of a trivial example can foreground bias and ignorance etc. unfortunately, such a second-level interpretive act is too complex for the spoon-fed and image-fattened herd. for the herd, art is something their barns and their pens were built to exclude. 3. in a representational democracy we elect people to rule as though individuals possess that power. this is a delusion, a necessary one, that power maintains in order to function stably. the reality is power is empty. to be sincere we must be able to elect an emptiness; the void which is power should be able to be represented. all those who do not vote, all those who can find nothing to vote for are unrepresented. their representative is a null candidate of a null party who is not recognized by the political system. if this nullity were allowed to exist and function politically it might have the effect of encouraging those who would fill the emptiness that is power to offer citizens something to vote for. things like leadership, integrity, courage, intelligence, just to name a few examples. 4. one will never find a poet on television or in a film because poets do not write screenplays.
republic: n; as an independent republic i have people who visit me: people who wish to reside within me, people who wish to work in me, people who wish to vacation within me, people who flee to me, people who attack me, people who wish to conquer me… what all these people discover, always too late, is that an independent republic is a small thing— in all its essential aspects it is non-spatial, atopic. and so, by the time an outsider believes they have crossed into me, they have at the same time, taken leave of me.
rescue: v; an artist / poet has to do more than just make things, objects. an artist/poet must make a world. this world must be able to be inhabited and the artist/poet does not know if it is inhabitable until others are invited to live there. this means that this created world must be expressed. also suggested here is that the artist/poet is dissatisfied with the world it finds itself in. in order to create this other world the artist/poet must believe that their are others who are also dissatisfied. this is of course an assumption but it is a necessary one if an inhabitable world is to be created and not just a loneliness or a privilege (see the poem Shelter). this assumption however can drift into dangerous territory, that being the realm of rescue fantasies and ultimately a Christ complex. if someone believes that there are others (some abstract notion of others) that must be saved it usually means that in this person's life there are people close by who are being ignored by the artist/poet. in such cases the only one who needs saving is the artist/poet.
resistance: n; 1. resistance is not readymade, it must be formed, attended. 2. my decision never to have a child should be understood as an act of resistance. 3. sadly it seems that adherence to reality has become a form of resistance, even a heroic act.
response: n; 1. sometimes, when you encounter a complex work but you do not experience its complexity or intensity, when you cannot as they say take anything from the experience it may not be because the work has nothing to offer. maybe the entire interaction is to be reversed; maybe you have nothing to offer the work. 2. scientists searching for extra-terrestrial life betray a weakness. often the answer they give as to why they consider it important to find extra-terrestrial life forms is that these life-forms will supply answers to pressing questions. one such question would no doubt be how did you manage to survive to achieve such technological advancement? what these scientists want is for someone/thing else to supply solutions to the earth's current social and environmental problems, solutions that differ from those the scientists (and others) know must be true but will not publicly admit. the most appropriate thing that could happen in such a scenario is that a life form is discovered which is exactly as technologically advanced as we are. and when asked the question how did you manage to survive to achieve such technological advancement? they respond we prey on the primitive, the weak, the powerless... just as you have done. 3. when asked he replied, “because i can never understand your purpose, but i can understand your beauty.” 4. when the earth squeezes my ankles ink comes out of my fingertips.
responsibility: n; 1. what is other is always calling out. it is the source of all effective (essential) questioning. responsibility is the open-ness to such questioning; the more sincere the questioning the wider, the more accommodating the opening. to be responsible does not require an answer (because there may be no answer) to such questions but is always willingly informed by them. 2. in the end, in any end, it is the mind's responsibility to speak truth to power (E. Said). 3. it may be the poet's task to speak truth to power because it is the poet who lives closest to what power basis itself on — metaphor. 4. when you pull off the mask of the discourse of crisis you will see power — that dank empty room filled completely by your blindness and its attendant wordless assent. 5. when i say i did not commit this act, or rather, i am not responsible for this action, something in my past, some offense against me has caused this action to occur, it appears as though such an alleviation of responsibility confers a benefit to me. however, the opposite is the case. by shifting the responsibility for an action to some other i become powerless. powerless to claim responsibility for any action, good or bad. powerless to be any more than an object. 6. to write or to create art and then to release what has been created into public one must willingly suspend personal responsibility for this creation. this is the privilege of creators and responsibility depends for its life on artists and writers making use of this privilege.
restraint: n; when the government says it is going to put the nation's house in order, what it euphemistically means is that the school, the hospital of the nation is going to be converted into a bank.
resurrection: n; 1. after we buried my grandfather we gathered for a funeral feast. it seems as though we planted his body and it grew into the cakes and meat we feasted on. it was as though we were appropriating what he possessed by ingesting his death. this feasting aspect of the funeral service seems to complete the cycle and the planting / harvest sense of what it is to be alive and to then die. 2. “only where there are graves are there resurrections.” - Nietzsche
retreat: v; 1. retreat is always the first act of creation. it is a step of limitation in which space is cleared for the subsequent creation, in which breath is drawn for the subsequent word. 2. is the mind that crumbles a final retreat, a letting go of everything except its faith in living? is this what madness would speak if it did not also abandon its own language along with everything else? 3. the retreat from the world and from one’s responsibilities to the world is complete when one’s language achieves a complete disregard for fact, logic, sense… in a word, the world.
return: n; poetry is a negation of the perceptible world. a poem, specifically a successful poem, is this negation in the process of returning to the perceptible world. this return is not always a welcome one, nor is it necessarily without conflict.
revelation: n; 1. revelation is the artifact of the process of revealing or unveiling. what has been unveiled is the thing itself and this thing is not the expression (the written work, for example). the thing itself, the substance of the revelation is made accessible by the process of revealing. access to the thing itself is dependent upon revelation, this is the only way it can be experienced first hand. to encounter the thing itself (to experience it) is an act of interpretation, of understanding. the thing itself is indeterminate and requires interpretation/understanding in order to be determined. to define revelation more completely i would say that it is a set of possibilities of interpretation/understanding which can be expressed/applied historically. important to remember is that where there is no interpretation, where there is no understanding, there may still be a revelation but its possibilities have not been acknowledged; just because something is not useful, or applicable, or timely, does not mean that it does not lead the way to an unveiled truth. the ongoing process of interpretation/understanding may be thought of as tradition, as the historical continuity of a revelation. the process and relationship between revelation and tradition is familiar on the social (interpersonal) scale; however, the same process also occurs (though at a level removed, see figure) at the level of the individual. at the level of the individual revelation is equivalent to the creative act where the thing itself of creation is embodied by the specific form of the work in question. tradition, at the level of the individual is the continuity of creative acts, of creative work. the relationships described above are represented in the following figure:
the thing itself
interpretation / application
the individual exists as an individual when the process of level 1 is in operation. the individual persists when the process of this level cycles. a group (or some unit larger than the individual) exists when the process of level 2 is operational. a group persists when the process of level 2 cycles. it might be obvious that the process of level 2 (the interpretation of a creative work) can be done in two modes: the first mode would be where the creative work is understood (as i have described above) to be an artifact of an activity which has been unveiled and which leads to the thing itself; the second mode would be where the creative work is taken for the thing itself (i.e. no transcendence). the only difference between these two modes is in the complexity and variety of possibilities of interpretation/understanding which they can offer (the first mode being greater in complexity and variety than the second mode). from the above scheme one can see that the creative work (or the be-ing of the individual) plays a mediating role between the thing itself and the group. and this is the individual's proper role. however, if the group is playing a mediating role it means that there is no action (existence) of individuals and this necessarily means there is no creative work being done. 2. cease cease cease — the directive of the beast. 3. muses die. 4. if christ were alive today he would change his name. 5. any poet who pursues the end-poem, who makes the sacrifices required to attain the true human limit which is poetry discovers exactly what i have discovered— the bridge back to life is on fire... and i am standing on that bridge.
revocation: n; every believer is a revocation of the journey.
revolt: v; 1. when you read (or hear or see) historical accounts of revolution it is always the marches and the riots— the spectacle of mass organization. this is because those who write history and/or those who make historical accounts available for consumption either are unaware of, or desire to keep suppressed, the knowledge that in the small, heroic acts of individual resistance is where all revolutions find their origin. power does not want it to be common knowledge that it is most vulnerable to an individual saying no confidently, and justifiably. 2. the revolution will not be marching past your house.
revolution: n; it is an old maxim that any real social revolution must be preceded by a equivalent revolution of thinking, a revolution of the mind. it is a note of optimism in the general din of society that one is only aware of the process of the revolution of the mind after such a revolution has been accomplished successfully. what this entails is that those who have not won the battle and those who are not even engaged in the battle are not aware that those things which they hold dear, those things which they believe eternal and which are critical loci of their resistance, have already been destroyed in certain minds. these minds are harbingers of a loss and a reconstruction they will not be able to ignore.
reward: n; 1. the mortar of privilege. 2. the suture for an immoral act.
rhyme: v; 1. the persistence of R(h)ome. 2. rhyme has led a debauched life; it has slept with many people whose circle i do not wish join. 3. an example of foregrounding the artifice of language; a reminder to readers and listeners of their/our linguistic participation in world-making. 4. it is not a prostitute’s fault that paid rhymes with laid. 5. in poetics rhyme is harmony. and harmony is easily confused with truth, or at least with validity. in any popularized poetics an effort must be made to assure those who will always fail to go or refuse to go to the heart of poetry (an this is always the majority) that the expression is an authentic encounter with reality and not artifice. rhyme achieves this.
ridicule: n; the seriousness of any saying (statement/proposition etc.) is not a measure of its inherent validity or truth-value. often it is a measure of the intensity (or density) of ridicule which threatens the stability of the saying.
rift: n; when i am at my edge, when i look over myself and do not see any more creating, when my negation rises up towards me in the form of nothingness, i am always greeted with a creation. and what i took to be an abyss becomes only a rift in the living creative landscape.
righteousness: n; righteousness is necessary apparel for any moral tourist.
ripe: n; “everything ripe wants to die; everything unripe wants to live”. –Nietzsche. i am not yet ripe.
risk: n; it is true, as Nietzsche says, “where doctors are most needed, doctors are most at risk”; so too, where poets are most needed, poets are most at risk. furthermore, where a human being is most needed, a human being is most at risk.
rite: n; this is the bridge between the image and its meaning, between the metaphor and its reference, between existence and essence. the poem is a linguistic rite.
ritual: n; 1. although it may be true that ritual expresses the needs of a group/society directly, it may be more realistic to see ritual as expressing these needs in an ambiguous or implied form (that is, without the practitioners ever knowing beforehand what the specific need might be). this is accomplished by defining ritual as the expression of the failures or frailties of a group/society. 2. i understand the link between personality and ritual actions. for example, a ring transferred from a finger on the hand of love to a finger on the hand of memory. 3. “the 'external' ritual performatively generates its own ideological foundation.” S. Zizek. 4. healing (the acknowledgement of a wound and the assumption of a future) can only begin with a ritual act.
role: n; if i am to play the role i have been given (which according to Epictetus mean that i must live as though i am who i am) i must discover the role i am playing. i could accept the role everyone tells me i am playing, the role everyone would have me play. or, i could step back and see these involvements, my personal context, as a scene of some larger involvement; in this case my role will entail a knowledge of my former situation as well as a distance from that situation. or, i could again step back from this situation and then continue stepping back until there is nowhere left to step back to. it is this last level that i am who i am. it is here that living becomes differentiated from persisting.
romanticism: n; 1. “a romantic is an artist whose great dissatisfaction with himself makes him creative” – Nietzsche. 2. my departure from romanticism began with the understanding that any belief that one can recede from the world into some interiority is delusional. such a retreat always leaves behind a residue which wordlessly assents to (and at the very least offering no resistance to) the reality which was wrongly believed to have been abandoned.
Rorty: n; “knowledge is, like truth, simply a complement paid to the beliefs which we think so well justified that, for the moment, further justification is not needed”.
Roussel: n; landmarks often appear in retrospect, as must the paths that lead to them.
Rousseau: n; 1. “individuals may die but not corporate bodies”. 2. it has gotten to the point where, like Rousseau, i write to demonstrate that words are not enough, that “i do not want this mediation of language.” 3. “theatres are necessary for large cities, and novels for corrupt peoples.” 4. at an early age i was granted Rousseau's insight that this civilized life is a false life based on false needs, a false freedom bound by the demands of private property. 5. “I have made you too feeble to climb out of the pit because I made you strong enough not to fall in”.
Rozanov: n; “the repulsive in man begins with self-satisfaction”.
ruin: n; 1. the ruin is always prophetic, often in spite of itself. in fact, the ruin would rather crumble to dust than speak its truth. and yet, even in its dust there is a resounding and undeniable truth. 2. it is devastating to give up the belief that all human beings are essentially equal in nature.
rule: v; 1. the queen and the king understand that the military is the nightmare of culture and that culture is the dream of the military. it is a sign of the abdication of the queen and the king when culture has become the nightmare of the military and the military has become the dream of culture. 2. Kant says “analogy does not constitute objects (of perception) but only regulates them”— and so it may be with metaphors; objects are not constituted, knowledge is not induced, rather experience is regulated, ruled (as in measured).
run: v; the natural state for a human being is running. one would then think that joggers are the closest to the natural ideal; in fact they are much closer than are those of us who must devise an elaborate system of restraints, excuses for not running. however, joggers, in adorning themselves with expensive clothing and shoes, in smiling during a leisurely jog or racing with others are fooling themselves into thinking that they are running because they want to run, because it is good for them. joggers want to believe that running is their decision but it is not. running is the natural state for a human being. more specifically, fleeing is the natural state, running naked in terror from something so hideous and overpowering that man is too frightened to stop running. at this stage in our evolution after so much running has preceded us we are powerless to slow the momentum, the dread, of our species.
rupture: n; 1. there is a gap between perception and consciousness (and the Ideological Apparatus (IA) that constitutes it) [see Geometry of Perception] . when our perception of the real can be assimilated by the IA it is done; however, when it cannot be assimilated it ruptures the IA at some locus. the IA may well be able to function with many such ruptures. a severe rupture which acts as a negation is experienced as trauma. these ruptures are equivalent to the gap between perception and consciousness. the (Freudian) unconscious is what appears to heal the rupture, which it does (and does not) do. 2. what separates the work of Atilla Richard Lukacs from the realm of the truly shocking or sublime is that its shocking nature is only apparently so. its overtly masculine, expressionistic, homoerotic, germanic, grandiose canvases occupy a space in the logic of painting that anticipates it, a space that is almost waiting for it. the career of Lukacs is the acknowledgement of this space (and the work, the dedication, and the protective, obsessive behaviour required to maintain the space as though it were his own). truly shocking / sublime work creates its own space. nothing is anticipating it, nothing is prepared for it. the presence of the sublime is disruptive and miraculous for the reason that it makes evident that there is no acceptable space in which it can exist— in the logic of its medium it should not be able to exist. 3. for a moment in this cartesian hallucination i find lucidity and am able to utter...therefore, i am not. 4. when one day in his diary Strindberg proclaimed “rupture, for the thousandth time” it was perhaps the only time he could be accused of understatement.
Russell: n; “only on the firm foundation of unyielding despair can the soul's habitation henceforth be safely built.”