”Here I am developing an idea that Walter Benjamin addressed in his Arcades Project. He starts from the anthropological assumption that people in all epochs dedicate themselves to creating interiors, and at the same time he seeks to emancipate this motif from its apparent timelessness. He therefore asks the question: How does capitalist man in the 19th century express his need for an interior? The answer is: He uses the most cutting-edge technology in order to orchestrate the most archaic of all needs, the need to immunize exist-ence by constructing protective islands. In the case of the arcade, modern man opts for glass, wrought iron, and assembly of prefabricated parts in order to build the largest possible interior. For this reason, Joseph Paxton’s Crystal Palace, erected in London in 1851, is the paradigmatic building. It forms the first hyper-interior that offers a perfect expression of the spatial idea of psychedelic capitalism. It is the prototype of all later theme-park interiors and event architectures. The arcade heralds the abolition of the outside world. It abolishes outdoor markets and brings them indoors, into a closed sphere. The antagonistic spatial types of salon and market meld here to form a hybrid. This is what Benjamin found so theoretically exciting: The 19th-century citizen seeks to expand his living room into a cosmos and at the same time to impress the dogmatic form of a room on the universe. This sparks a trend that is perfected in 20th-century apartment design as well as in shopping-mall and sports-stadium design—these are the three paradigms of modern construction, that is, the construction of micro-interiors and macro-interiors.” Peter Sloterdijk

Instead of this archaic state of protection I prefer the words of Cioran:

”The absence of an organic character of the contemporary culture, makes that man is no longer living in contents but in formulas that he can change as fast as he changes his shirt. So you understand why it is necessary to purify oneself on the heights.” The full text below ( In French only).

”Here I am developing an idea that Walter Benjamin addressed in his Arcades Project. He starts from the anthropological assumption that people in all epochs dedicate themselves to creating interiors, and at the same time he seeks to emancipate this motif from its apparent timelessness. He therefore asks the question: How does capitalist man in the 19th century express his need for an interior? The answer is: He uses the most cutting-edge technology in order to orchestrate the most archaic of all needs, the need to immunize exist-ence by constructing protective islands. In the case of the arcade, modern man opts for glass, wrought iron, and assembly of prefabricated parts in order to build the largest possible interior. For this reason, Joseph Paxton’s Crystal Palace, erected in London in 1851, is the paradigmatic building. It forms the first hyper-interior that offers a perfect expression of the spatial idea of psychedelic capitalism. It is the prototype of all later theme-park interiors and event architectures. The arcade heralds the abolition of the outside world. It abolishes outdoor markets and brings them indoors, into a closed sphere. The antagonistic spatial types of salon and market meld here to form a hybrid. This is what Benjamin found so theoretically exciting: The 19th-century citizen seeks to expand his living room into a cosmos and at the same time to impress the dogmatic form of a room on the universe. This sparks a trend that is perfected in 20th-century apartment design as well as in shopping-mall and sports-stadium design—these are the three paradigms of modern construction, that is, the construction of micro-interiors and macro-interiors.”

Peter Sloterdijk

Instead of this archaic state of protection I prefer the words of Cioran:

”The absence of an organic character of the contemporary culture, makes that man is no longer living in contents but in formulas that he can change as fast as he changes his shirt. So you understand why it is necessary to purify oneself on the heights.” The full text below ( In French only).

Kazakh hunters in Altai Mountains in Western Mongolia :

“Je crois que j’ai trop de “métier”, et que j’étrangle l’élan, par une sorte de mécanisme d’auto-punition. Il faut que cela ait l’air d’un jeu, et d’un jeu vraiment futile et banal. Au point qu’il faille vraiment prêter l’oreille pour réussir à entendre une mince musique désuète, que l’on est en droit de récuser l’existence même de la partition. Sans doute cela tient à ce que je suis bourré de “littérature”… Je me consume en vase clos, tellement loin de la vie (mais qu’est-ce que c’est ?) que le pastiche me paraît encore la meilleure manière de dénoncer cette infirmité. Il y a cependant autre chose, une illusion folle : je crois à la rengaine, aux mots les plus éculés, parce qu’ils me semblent receler plus d’inattendu” que les vocables à la mode…”

Lettre de Jean-Claude Pirrote à André Dhôtel

L’homme en récession vers soi-même constitue une forme de subjectivité des enclaves dans lesquelles il a prioritairement et en permanence affaire à soi-même et à ses états intérieurs.

Il se transforme en un état à superficie réduite pour les habitants duquel il faut trouver la constitution adéquate. Personne n’a exprimé aussi clairement que Marc Aurèle le commandement qui invite les vivants à gérer eux-mêmes leur vie :

‘’Il reste donc à te souvenir de la retraite tu peux trouver dans ce petit champ de ton âme. Et avant tout, ne te dissipe pas…’’

אז מה, אז זה הכול? גבעת חלפון? האם החיים שלנו עד כדי כך מגוחכים?

אישית, אני לא חובב גדול של קומדיות. בכך (בין השאר!) אני שונה לצערי מצ’יקי: אני לא נמצא בדרך לים.

רוצה לומר: מבחינה מסוימת, אם יש משהו לאהוב בישראל זה את הגורליות הטראגית. מה נעשה בלעדיה? מה נעשה בלי פניו הנוגים של היהודי האירופי?

הייתי אומר שפניו הנוגים של היהודי האירופי גרמו מספיק ייסורים לפיסת הארץ הזאת. הגיע הזמן שרוח הרפאים הזאת תעבור הלאה למקום אחר. זה כמובן לא עניין פרסונלי – רוחות רפאים הן אף פעם לא עניין פרסונלי.

לאן? אתם כבר יודעים את התשובה. הפרויקט של היהודי האירופי בילה מספיק זמן בפלשתינה. הגיע הזמן שהוא יחזור למשימה שתמיד עניינה אותו:

להשתלט על העולם.