dandiacal complicity and the fabric of colonialism (protoglobalisation) on the political stretcher of representation
– Yinka Shonibare, The Confession, 2007
Simon Taylor
THEATRUM PHILOSOPHICUM, why? OR, the theatre-of-theatre
From Under the Volcano: οἶκος / δῆμος / ἔρως / ἔθος
ἔθος
Ethos: a few details:
I wouldn’t torture except in affirming the play of perversity;
I think the crack in thought is unavoidable and the source of the difference that makes a difference in thought – because thought (or play) cannot do it on its own;
I wouldn’t because
POP! in Riverhead, March 2009
to be equal to the wound act it or becoming the actor of one’s own events: counteractualisation & amor fati-amor vacui
The actor is not like a god, but is rather like an”anti-god” [contre-dieu]. God and actor are opposed in their readings of time. What men grasp as past and future, God lives it in its eternal present. The God is Chronos: the divine present is the circle in its