Human Mirror

She plays herself and at the same time creates intensity in her role and distance from the character she is playing. She dresses, she undresses. She is so affected by herself that her own lingerie she arouses.

Men serve as mirrors for Persephone. She spreads herself in front of the human mirrors and only ever finds perfection by herself. The others are manufactured goods of nature who are treated with baseless accusations.

Persephone weakens her lovers with psychotechniques. She leads a molecular civil war. CC alone, in all his forms, satisfies her. The North Hessian superpower also succeeds as Professor Goya at the Lanfgraf Philipp University, which emerged from a medieval knights' academy and is a magical place and the site of terrible Hessian state secrets.

In his presence, she does not isolate herself on the summit of her narcissistic Mount Everest. How she loves it when he asserts his undeniable prerogatives and redeems her. With him, she exists in a cosmos without doubt.

CC and Persephone speak to each other in children's language. They praise each other for their farts. At every opportunity, they retreat to their Language Castle to play with each other.

From Goya's lecture manuscripts - Oceanic forgetfulness

In the centuries between Magellan and Cook, many a country was discovered by one European power and then another, and sometimes more than once by the same power. Australia was already a European destination in the 16th century, but remained a no-man's land in the European perspective for two hundred years. There is an oceanic forgetfulness that sets in when no missionary zeal and no economic or strategic interests demand commitment, when jealousy and competition between states of the Old World do not have a stimulating effect. Sometimes a failed colonization attempt is enough to take an island off the map. The Dutch captain Abel Tasman described the accessible areas in the Pacific as pre-conscious spaces of the world. He found dormant lands, stone and dreamtime reserves that fostered the feeling of having landed in another time. He passed island corridors and described them as poly nēsoi. In 1642, Tasman reached New Zealand after sailing around the South Land (terra australis), which had been fabled since antiquity. He sailed from Batavia for the Dutch East India Company, again looking for navigable passages and shortcuts.

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The collective unconscious of the Old World found its strongest images of otherness in America, Africa and Australia. The Other (the stranger in his natural environment) was assigned to nature (barbarism), while the space travelers of the Middle Ages distanced themselves from the earthly.Shockingly and traumatically, old-worldly types collided with stone-age exotics. Terra Australis had been the subject of thoughts and fantasies since antiquity. Suddenly it was as frighteningly real as an insect under a magnifying glass.

Australian Anthropophagi

Only thirty thousand native Australians survived the first round of British invasions from 1778 to 1805. They encountered the damned of Great Britain. They were primarily young people from slums. The crown exports the youth bulge.

The American entrepreneur Robert A. Cunningham (1837 - 1907) presented Aborigines in "ethnographic exhibitions" as Australian anthropophagi.

Quotes from Alexander Kluge, "Circus / Commentary", Suhrkamp"

Cunningham led two groups to their triumph in Europe. The second group included Jenny, King Bill and King William II." This is how Alexander Kluge describes the maximum exploitation of so-called "savages". The author links Cunningham's colonial arrogance with historical events in his hometown of Halberstadt.

"Seven years before my father was born, i.e. at a time outside my own life experience, in March 1885 ... Cunningham presented a group of Australian natives he had put together ... at the Hotel Kaiserhof."

Posted certificates of authenticity "prove" the accuracy of dazzling biographical information. The exhibited figures probably had the highest visual appeal in the world. Their presentation as (according to legend) life-threatening cannibals lying in chains at night apparently leaves the African exoticism behind."Rudolf Virchow, the anatomical icon of Humboldt University," examines the "rarities" scientifically. All kinds of luminaries increase the aura of those being presented. Their staging is based on a choreography. The authenticity is a chimera on the horizon of fraud."A thousand visitors (saw) the show every day."Kluge explains. Halberstadt is the capital of the spa business at a gateway to the Harz Mountains. A significant number of health resorts guarantees Cunningham a large audience. He establishes his business in the best place for miles around. He runs it with tortured souls. Those at his disposal like serfs wander traumatized through the galaxies of modernity. They come from a clan that was "wiped out of the visible world of Australia" in a rapid process of destruction."Cunningham did not own the professional savages as slaves... (he had) the exclusive right to use them."

Fear of Flying

Some people don't do it under la folie à deux. Some people pretend they don't do it under. Street poets call such candidates brainless.

"Fear of Flying" was published in German in the mid-1970s. Erica Jong's debut triggered similar feelings in me as illustrated stories about rich people on Sylt, Summerhill, Marianne Bachmeier's revenge on her daughter's murderer, the New York mafia and Uschi Obermaier's widely discussed love for Dieter Bockhorn.This is what the old Federal Republic felt like to me. My feeling of the Federal Republic included the Stern on Thursday, the Red Army Faction on the news every evening, words like contact ban and Eduscho ... my mother's Simmel smut, in a word, the coziness of terraced houses.That was a different Germany. The country just had a lot in common with the Berlin Republic. Jong wrote the way children from the settlements spoke. The author left no room for doubt that she is more or less identical to the narrator, Isadora Wing. Forty years later, the best friend of the fear-of-dying heroine is called Isadora. The second self has no fear of flying. In fact, Vanessa Wonderman feels more at home in the airspace between New York and Los Angeles than anywhere else. In return, her sexual flights of fancy on the other side of the action require pneumatic support. Viagra upsets her adored, wealthy husband, who is just twenty years older than her. While Asher just wants to stay alive, Vanessa demands sex from the old man to feel alive. (As a remedy for the fear of dying.) She cheats on the frail man with an actor of the kind who play James Bond as young men and then other leading roles. The debutante was accused of militancy, critics linked her to Women's Liberation, while the women's movement branded Jong a fifth column of the patriarchy.I'm reminded of Esther Vilar. Masculinity was finally seen as a case for rehabilitation in the free world, and in the pre-green alternative movement hardly anyone wanted to be a man anymore. 

Paths of Devastation

Didier Eribon teaches that all campaigns "are battles for the perception of the world". 

Legions of the traditionally unheard join in on social media. The intensity of the appearances comes from an untrained will to assert oneself. It results in a lowering of standards. The actors overestimate their importance, but above all their originality as dirt-slingers.

To continue elsewhere - the unworldly man invites the world with a "configuration of purity and egoism". Adorno thus deals with the fictional character of Lucien de Rubempré aka Lucien Chardon, created by Honoré de Balzac, who was born rejected but loved for his beauty. He sees in the son of a man of low social stature and an aristocrat who has fallen for the dog of bourgeois society the embodiment of a fallen Angelus Novus... a swarming squadron leader whose pleasant nature practically hands him opportunities. A new type is emerging in Lucien: the flaneur-columnist who lives precariously and writes elegantly. Journalistic flamboyance coincides with a lack of bourgeois gravity. Lucien wastes himself. At first he appears to the world to be as witty as he is subtle. He refuses to take the "bourgeois oath". Therefore he is pushed below the bourgeois and "degraded to a scoundrel". The thin ice of idealism breaks and Lucien falls through to the depths of servitude and parasitism. He finally succeeds in the role of the "disgusting". 

Adorno sees Lucien as just a "fungible figure" because of whom nothing happens that the actor should take personally. Anyone who does not learn the mores (original spelling) of the world perishes in the style of the opium eaters. "Lucien refuses to separate happiness from work." "Anyone who wants to make it," says Adorno, must "make a pact" with what Lucien does not want to "sullie" himself with. 

"The market chooses very precisely between what it detests as the intellectual's spiritual self-gratification and what is ... socially useful, which heartily disgusts the spirit that achieves it; its sacrifice is rewarded in exchange." 

Adorno notices a swath of devastation on the path of the rising bourgeoisie. He calls Balzac a herald of the destruction of idyllic-feudal ways of life; a producer of dystopian prospects. In his novels, the author "prophesies (a) bleak future, (as) the injustice that the young class has inherited from (the overthrown)" is passed on. The simultaneity of progressive and reactionary forces in an avant-garde has "kept the Comédie humaine young even in its obsolescence." Adorno speaks of the "symphonic breath" of Balzac's oeuvre.