by Jochen Szangolies
Consider the lobster. Rigidly separated from the environment by its shell, the lobster’s world is cleanly divided into ‘self’ and ‘other’, ‘subject’ and ‘object’. One may suspect that it can’t help but conceive of itself as separated from the world, looking at it through its bulbous eyes, probing it with antennae. The outside world impinges on its carapace, like waves breaking against the shore, leaving it to experience only the echo within.
Its signature move is grasping. With its pincers, it is perfectly equipped to take hold of the objects of the world, engage with them, manipulate them, take them apart. Hence, the world must appear to it as a series of discrete, well-separated individual elements—among which is that special object, its body, housing the nuclear ‘I’ within. The lobster embodies the primal scientific impulse of cracking open the world to see what it is made of, that has found its greatest expression in modern-day particle colliders. Consequently, its thought (we may imagine) must be supremely analytical—analysis in the original sense being nothing but the resolution of complex entities into simple constituents.
The lobster, then, is the epitome of the Cartesian, detached, rational self: an island of subjectivity among the waves, engaging with the outside by means of grasping, manipulating, taking apart—analyzing, and perhaps synthesizing the analyzed into new concepts, new creations. It is forever separated from the things themselves, only subject to their effects as they intrude upon its unyielding boundary. Read more »
Ryan Ruby is a novelist, translator, critic, and poet who lives, as I do, in Berlin. Back in the summer of 2018, I attended an event at TOP, an art space in Neukölln, where along with journalist Ben Mauk and translator Anne Posten, his colleagues at the Berlin Writers’ Workshop, he was reading from work in progress. Ryan read from a project he called Context Collapse, which, if I remember correctly, he described as a “poem containing the history of poetry.” But to my ears, it sounded more like an academic paper than a poem, with jargon imported from disciplines such as media theory, economics, and literary criticism. It even contained statistics, citations from previous scholarship, and explanatory footnotes, written in blank verse, which were printed out, shuffled up, and distributed to the audience. Throughout the reading, Ryan would hold up a number on a sheet of paper corresponding to the footnote in the text, and a voice from the audience would read it aloud, creating a spatialized, polyvocal sonic environment as well as, to be perfectly honest, a feeling of information overload. Later, I asked him to send me the excerpt, so I could delve deeper into what he had written at a slower pace than readings typically afford—and I’ve been looking forward to seeing the finished project ever since. And now that it is, I am publishing the first suite of excerpts from Context Collapse at Statorec, where I am editor-in-chief.![Henri Matisse created many paintings titled 'The Conversation'. This, from 2012, is of the artist with his wife, Amélie. [Hermitage Museum, St. Petersburg, Russia].](https://3quarksdaily.com/wp-content/uploads/2019/06/Matisse_Conversation-360x292.jpg)
