Četiri sive vjeverice i lisica (naslov ukraden iz jednog budućeg posta)
 Foto by Gurwoman koju nisam pitala za dopuštenje ali valjda mi ne bi rekla ne (nježna emotivna ucjena). Trep trep trepetiljka. Nas dvije dubimo na glavi čvrsto se držeći poda. Nisam sigurna čiji rad pozira kao zrcalo, provjerit ću idući put, u svakom slučaju, peti kat, prva soba, prvi rad na lijevo. ”Every real artist constantly violates the laws of the system within which he works, in order to create new formal possibilities and stimulate aesthetic desire: when Brahms's works were first performed, the expectations aroused by one of his symphonies in a listener accustomed to Beethoven were certainly very different, both in quality and range, from the expectations aroused by a Beethoven piece in a listener accustomed to Haydn. And yet, theorists of contemporary music (and with them, those of contemporary art in general) reproach classical tradition for the fact that all its formal innovations, and the kind of expectations they entailed, would no sooner be introduced than they would become new systems of assumptions aiming at the completion and final satisfaction of expectation, thereby encouraging what Henri Pousser calls psychic inertia.” Umberto Eco: The Open Work |
