An employee of the Russian Space Training Center hangs space suits of Russian cosmonaut Anatoly Ivanishin, NASA’s U.S. flight engineer Kathleen Rubins, and Japanese space agency’s flight engineer Takuya Onishi, out to dry after training near Noginsk, 60 km (38 miles) east of Moscow, Russia, on July 2, 2014. The training was intended to simulate the capsule landing on water.
Photos of the week, by The Atlantic.
Music, states of happiness, mythology, faces belabored by time, certain twilights and certain places try to tell us something, or have said something we should not have missed, or are about to say something; this imminence of a revelation which does not occur is, perhaps, the aesthetic phenomenon.
Philosophy — the power of separate thought and the thought of separate power — was never by itself able to supersede theology. The spectacle is the material reconstruction of the religious illusion. Spectacular technology has not dispersed the religious mists into which human beings had projected their own alienated powers, it has merely brought those mists down to earth, to the point that even the most mundane aspects of life have become impenetrable and unbreathable. The illusory paradise that represented a total denial of earthly life is no longer projected into the heavens, it is embedded in earthly life itself. The spectacle is the technological version of the exiling of human powers into a “world beyond”; the culmination of humanity’s internal separation.
I am no longer the “I” of that episode; but it is still posible for me to remember what happened, perhaps even to tell it. I am still, however incompletely, Borges.
I felt, on the last page, that my narration was a symbol of the man I was as I wrote it and that, in order to compose that narration, I had to be that man and, in order to be that man, I had to compose that narration, and so on to infinity. (The moment I cease to believe in him, “Averroes” disappears.)
The Tenth Sentiment, by Ryota Kuwakubo.
Underground Doesn’t Exist Anymore, by Lek & Sowat, Mode2 and Futura 2000, at Paris’ Palais de Tokyo.