Marcus Johnson

“I thought about Stockhausen. What had prompted him to call the attacks a work of art? For him, I thought, it was not a matter of finding death beautiful, but rather seeing that someone had taken liberties in reality that an artist could only dream of. That was both the virtue and the vice of art. In art, you can kill with impunity—destroy the world, perpetrate a holocaust, whip up the apocalypse. But it’s only art. You can blow up five million people in an opera and not have anywhere near the impact of blowing up five thousand in reality. Stockhausen seemed to realize this, since the terrorism caused him to feel that being a composer was nothing. In that sense, his words were a moral statement about the limits of art, not an immoral statement about aestheticizing destruction.”
― Supervert, Necrophilia Variations

“By the time we grow up we become masters at dissimulation, at cultivating a self that the world cannot probe. But we pay a price. After years of turning people away, of protecting our inner self, of cultivating it by living in a different world, of furnishing this world with our fantasies and dreams—lo and behold we find that we are hopelessly separated from everyone else. We have become victims of our own art. We touch people on the outsides of their bodies, and they us, but we cannot get at their insides and cannot reveal our insides to them. This is one of the great tragedies of our interiority—it is utterly personal and unrevealable. Often we want to say something unusually intimate to a spouse, a parent, a friend, communicate something of how we are really feeling about a sunset, who we really feel we are—only to fall strangely and miserably flat. Once in a great while we succeed, sometimes more with one person, less or never with others. But the occasional break-through only proves the rule. You reach out with a disclosure, fail, and fall back bitterly into yourself. We emit huge globs of love to our parents and spouses, and the glob slithers away in exchange of words that are somehow beside the point of what we are trying to say. People seem to keep bumping up against each other with their exteriors and falling away from each other. The cartoonist Jules Feiffer is the modern master of this aspect of the human tragedy. Take even the sexual act—the most intimate merger given to organisms. For most people, even for their entire lives, it is simply a joining of exteriors. The insides melt only in the moment of orgasm, but even this is brief, and a melting is not a communication. It is a physical overcoming of separateness, not a symbolic revelation and justification of one’s interior. many people pursue sex precisely because it is a mystique of the overcoming of the separateness of the inner world, and they go from one partner to another because they can never quite achieve “it." So the endless interrogations: “What are you thinking about right now—me? Do you feel what I feel? Do you love me?”
― Becker Ernest

“And so, beginning with the small early frustrations and deprivations, the child is helped to govern himself. his ego develops by learning to regulate his own food intake and feces evacuation: he has to learn to adapt to a social schedule, to an external measure of time, in place of a biological schedule of internal urges. In all this he makes a bitter discovery: that he is no longer himself, just by seeking pleasure. There may be more excitement in the world but the fun keep getting interrupted. For some strange reason the mother doesn’t share his glee over a bowel movement on the sofa. The child finds that he has to “earn" the mother’s love by performing in a certain way. He comes to realize that he has to abandon the idea of “total excitement" and “uninterrupted fun," if he wants to keep a secure background of love from the mother. This is what Alfred Adler meant when he spoke of the child’s need for affection as the “lever" of his education. The child learns to accept frustrations so long as the total relationship is not endangered. This is what the psychoanalytic word “ambivalence" so nicely covers: the child may hesitate between giving up what has previously been an assured satisfaction, and proceeding to a new type of conduct which will be rewarded by a new kind of acceptance. Does he want to keep the breast instead of switching to the bottle? He finds that if he makes this switch he gets a special cooing of praise and a little extra attention. Ambivalence describes the process whereby the infant is propelled forward into increasing mastery by his developing ego, while at the same time he is lulled backward into a safe dependence by his need for approval and easy gratification; he is caught in the bind, as we all are, between new and uncertain rewards and tried and tested ones.”
― Ernest Becker

“In reply to the often asked question why he performs dressed as a woman, Kazuo has repeatedly stated: “My intention in dressing as a woman onstage has never been to become a female impersonator, or to transform myself into a woman. Rather, I want to trace my life back to its most distant origins. More so than anything else, I long to return to where I’ve come from.”
― Kazuo Ohno, Kazuo Ohno's World: from without & within