Oedipus returns “to hide in death a while;” or, recurrent displacement: The Character of a Dark Precursor for a Theatre of Philosophy
Near the beginning of “Theatrum Philosophicum,” Michel Foucault’s essay reviewing Gilles Deleuze’s Difference and Repetition and The Logic of Sense (this is where and when – the esssay appeared in 1970 – Foucault famously remarked that one day the century will be known as Deleuzian), there is a committal: Plato
lapidary belatedness & Thoth imago
Would I had phrases that are not known,
utterances that are strange,
in new language that has not been used,
free from repetition,
not an utterance which has grown stale,
which men of old have spoken.
An Egyptian scribe fixed those words in stone at the very dawn of recorded
The Red Jacket
poetry of physics as of painting, diagramme notwithstanding; the reversability of time or as of the three paradoxes as in Deleuze and the redundancy of the possible being: everything is alive
James Gleick calls the flight from Europe to the United States in the mid-1930s, ‘the greatest intellectual migration in history.’ The aptness of his description struck me and I wanted to record it here. [James Gleick, Genius: Richard Feynman and Modern Physics, Abacus, London, 2006, p. 167]
– Ad Reinhardt,
Tell it to the Birds: Tiwakawaka
Матрёшка: usually wooden doll (У них нет рук) in peasant dress (Темы для рисования могут быть очень разными: от сказочных персонажей и до политических деятелей) with successively smaller ones fitted inside (матрёшки появились в России только после Русско-
– Matrëshka [poss. derivation above], Condom Alley, Auckland, 21/5/09