YOU SHOULD NEVER LOOK DIRECTLY AT THE SUN ANYWAY

  • piteous , recalled from mouth too soon ; actually the flags , dragging on the ground ; caught somewhere lifting my head up , pillows that - white , oil skin , grecian rubble do not come apart in my hands . my hands are the first thing to go ; the carriage rocks , widely around the city’s edge land . look , look now ; i am fulfilling my own rite ; half of my face is reflected in the carriage window ; the other half folds across the mouth of a turbine ; a chimney that retches , glassy smoke ; 

  • go go on the large of the fragile bird ; it is enamoured with you with myself — and throwing itself against the window , dies .

 

julie kristeva argues that iconography transfers the invisible into the realm of the visible , through the fixed economy of icons . for kristeva , death is always closely linked with iconography ; and the severed head becomes the ultimate of those symbols . the head = the sun . and within the head lays not only raw psychology , but also thought ; and also logic , or its mechanisms . 

 

for theorist-artist hit steyerl , we might achieve invisibility by disconnecting the face (the head) from systems of covert (and overt!) surveillance . she confuses her own face , in her films . 

 

in this way , the removal of the head , while linked to death , is also a removal of the self from logic . and it is this removal that we might see as empowering ; in so far as it ejects us from power . we might save ourselves by emptying ourselves of meaningful reading-into . to become hard , obscure , unreachable .

 

all utopias become unreachable , because they self-destruct . if you expose yourself too far you might just fall into destruction . this is not what we want , it cannot be . if a thing becomes obscure , and its insides are chaotic , and its surface a blank mirror , then that is ok . i am afraid of being pulled apart by horses . i cut my own head off , which is the head of the sun . 

  • piteous , recalled from mouth too soon ; actually the flags , dragging on the ground ; caught somewhere lifting my head up , pillows that - white , oil skin , grecian rubble do not come apart in my hands . my hands are the first thing to go ; the carriage rocks , widely around the city’s edge land . look , look now ; i am fulfilling my own rite ; half of my face is reflected in the carriage window ; the other half folds across the mouth of a turbine ; a chimney that retches , glassy smoke ; 

  • go go on the large of the fragile bird ; it is enamoured with you with myself — and throwing itself against the window , dies .

 

julie kristeva argues that iconography transfers the invisible into the realm of the visible , through the fixed economy of icons . for kristeva , death is always closely linked with iconography ; and the severed head becomes the ultimate of those symbols . the head = the sun . and within the head lays not only raw psychology , but also thought ; and also logic , or its mechanisms . 

 

for theorist-artist hit steyerl , we might achieve invisibility by disconnecting the face (the head) from systems of covert (and overt!) surveillance . she confuses her own face , in her films . 

 

in this way , the removal of the head , while linked to death , is also a removal of the self from logic . and it is this removal that we might see as empowering ; in so far as it ejects us from power . we might save ourselves by emptying ourselves of meaningful reading-into . to become hard , obscure , unreachable .

 

all utopias become unreachable , because they self-destruct . if you expose yourself too far you might just fall into destruction . this is not what we want , it cannot be . if a thing becomes obscure , and its insides are chaotic , and its surface a blank mirror , then that is ok . i am afraid of being pulled apart by horses . i cut my own head off , which is the head of the sun . 

  • piteous , recalled from mouth too soon ; actually the flags , dragging on the ground ; caught somewhere lifting my head up , pillows that - white , oil skin , grecian rubble do not come apart in my hands . my hands are the first thing to go ; the carriage rocks , widely around the city’s edge land . look , look now ; i am fulfilling my own rite ; half of my face is reflected in the carriage window ; the other half folds across the mouth of a turbine ; a chimney that retches , glassy smoke ; 

  • go go on the large of the fragile bird ; it is enamoured with you with myself — and throwing itself against the window , dies .

 

julie kristeva argues that iconography transfers the invisible into the realm of the visible , through the fixed economy of icons . for kristeva , death is always closely linked with iconography ; and the severed head becomes the ultimate of those symbols . the head = the sun . and within the head lays not only raw psychology , but also thought ; and also logic , or its mechanisms . 

 

for theorist-artist hit steyerl , we might achieve invisibility by disconnecting the face (the head) from systems of covert (and overt!) surveillance . she confuses her own face , in her films . 

 

in this way , the removal of the head , while linked to death , is also a removal of the self from logic . and it is this removal that we might see as empowering ; in so far as it ejects us from power . we might save ourselves by emptying ourselves of meaningful reading-into . to become hard , obscure , unreachable .

 

all utopias become unreachable , because they self-destruct . if you expose yourself too far you might just fall into destruction . this is not what we want , it cannot be . if a thing becomes obscure , and its insides are chaotic , and its surface a blank mirror , then that is ok . i am afraid of being pulled apart by horses . i cut my own head off , which is the head of the sun . 

  • piteous , recalled from mouth too soon ; actually the flags , dragging on the ground ; caught somewhere lifting my head up , pillows that - white , oil skin , grecian rubble do not come apart in my hands . my hands are the first thing to go ; the carriage rocks , widely around the city’s edge land . look , look now ; i am fulfilling my own rite ; half of my face is reflected in the carriage window ; the other half folds across the mouth of a turbine ; a chimney that retches , glassy smoke ; 

  • go go on the large of the fragile bird ; it is enamoured with you with myself — and throwing itself against the window , dies .

 

julie kristeva argues that iconography transfers the invisible into the realm of the visible , through the fixed economy of icons . for kristeva , death is always closely linked with iconography ; and the severed head becomes the ultimate of those symbols . the head = the sun . and within the head lays not only raw psychology , but also thought ; and also logic , or its mechanisms . 

 

for theorist-artist hit steyerl , we might achieve invisibility by disconnecting the face (the head) from systems of covert (and overt!) surveillance . she confuses her own face , in her films . 

 

in this way , the removal of the head , while linked to death , is also a removal of the self from logic . and it is this removal that we might see as empowering ; in so far as it ejects us from power . we might save ourselves by emptying ourselves of meaningful reading-into . to become hard , obscure , unreachable .

 

all utopias become unreachable , because they self-destruct . if you expose yourself too far you might just fall into destruction . this is not what we want , it cannot be . if a thing becomes obscure , and its insides are chaotic , and its surface a blank mirror , then that is ok . i am afraid of being pulled apart by horses . i cut my own head off , which is the head of the sun .