D.: Bon. Again very good, we’ve learned that a text is generated by other texts like a secret is made out of secrets or out of books. Your attitude is very similar to Umberto Eco’s, who is a great teacher of things that can only be perceived by reading texts artists are usually not willing to read.
J.: I don’t want to start a discussion on teaching attitudes. Please do not strengthen the connection between writing texts on one hand and teaching on the other. Writing and reading are subversive strategies. They can be, at least.
D.: They’re also artistic, as well as technological, strategies. Or rather technological possibilities for artistic strategies. This is the reason why Cage was so fascinated by Buckminster Fuller and almost everything he heard about electricity. We are talking about an energy which enables us to publish posts.
Magnes: Electricity and digital media have inspired a form of digital theology. Magnetism offers a different approach. I would say it leads to polytheism, not to monotheism (Zeus, God: The masters of lightning and thunder). Magnetism is an invitation to take the risk of looking beyond, into the transcendental or into the suprasensible another way.
D.: Okay, I will tell you something.
Realometer: Before you start, please allow me to add why I find the images of staffs and of the shoe important. We could look at them in the blog yesterday. The shoe and the staffs are mentioned by Pliny and not by Claudian. They are important because via staff and shoe a fiction was possible: The fiction of Magnes the shepherd who was the first to discover magnetic attraction. So far no image from antiquity, neither a fresco nor a stone cut, that shows Magnes has been found. The antique notion of Magnes – as far as I can see today – is limited or restricted to texts. Nevertheless, the images of Jesus Christ as a shepherd can somehow be read as representations of Magnes by non-pictorial means.

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