STATE by Anita Groener


It is reasonable to assume that spatial practice, representations of space and representational spaces contribute in different ways to the production of space according to their qualities and attributes, according to the society or mode of production in question, and according to the historical period. Relations between the three moments of the perceived, the conceived and the lived are never either simple or stable, nor are they ‘positive’ in the sense in which this term might be opposed to ‘negative’, to the indecipherable, the unsaid, the prohibited, or the unconscious. Are these moments and their interconnections in fact conscious? Yes — but at the same time they are disregarded or misconstrued. Can they be described as ‘unconscious’? Yes again, because they are generally unknown, and because analysis is able – though not always without error — to rescue them from obscurity. The fact is, however, that these relationships have always had to be given utterance, which is not the same thing as being known – even ‘unconsciously’.

The Production of Space trans. by Donald Nicholson-Smith (Oxford: Blackwell, 1991) P.46



Gian Lorenzo Bernini, Saint Teresa in Ecstasy, 1647-52. Marble, life-size.

Writing, for Teresa, is to connect with the unknown. The search for a providential interlocutor, one which makes her speak that which she cannot explain; the wait for grace. Grace, an answer to questions we have not even asked ourselves. Such is the mystery of Saint Teresa, the reason we continue reading her with delight five hundred years after her birth. She turns religion into poetry.

Read the rest of Gustavo Martín Garzo’s article at El País


C.D.Friedrich, Der Moench am Meer - C.D.Friedrich / Monk by the Sea / 1808 -

C.D.Friedrich, Der Mönch am Meer, 1808

This idea or this affection caused by a word, which nothing but a word could annex to the others, raises a very great degree of the sublime, and this sublime is raised yet higher by what follows, a “universe of death.” Here are again two ideas not presentable but by language, and a union of them great and amazing beyond conception; if they may properly be called ideas which present no distinct image to the mind; but still it will be difficult to conceive how words can move the passions which belong to real objects, without representing these objects clearly. This is difficult to us, because we do not sufficiently distinguish, in our observations upon language, between a clear expression and a strong expression. These are frequently confounded with each other, though they are in reality extremely different. …

The truth is, all verbal description, merely as naked description, though never so exact, conveys so poor and insufficient an idea of the thing described, that it could scarcely have the smallest effect, if the speaker did not call in to his aid those modes of speech that mark a strong and lively feeling in himself. Then, by the contagion of our passions, we catch a fire already kindled in another, which probably might never have been struck out by the object described. Words, by strongly conveying the passions by those means which we have already mentioned, fully compensate for their weakness in other respects.

A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757)