Tavèrnoles baldachin (Baldaquí de Tavèrnoles)

 

Tavèrnoles baldachin (Baldaquí de Tavèrnoles)

 

Tavèrnoles baldachin (Baldaquí de Tavèrnoles)

In recent years, the end of love has been announced many times. Love, the claim goes, is foundering because of endless freedom of choice, the overabundance of options, and the compulsion for perfection. In a world of unlimited possibilities, love itself represents an impossibility. Passion, too, is said to have grown cold (…)

 

The crisis of love does not derive from too many others  so much as from the erosion of the Other. This erosion is occurring in all spheres of life; its corollary is the mounting narcissification of the Self. In fact, the vanishing of the Other  is a dramatic process—even though, fatefully enough, it largely escapes notice (…)

 

Therefore, in the inferno of the same, which contemporary society is increasingly becoming, erotic experience does not exist. Erotic experience presumes the asymmetry and exteriority of the Other (…)

 

Today, we live in an increasingly narcissistic society. Libido is primarily invested in one’s own subjectivity. Narcissism is not the same as self-love. The subject of selflove draws a negative boundary between him or herself and the Other. The narcissistic subject, on the other hand, never manages to set any clear boundaries. In consequence, the border between the narcissist and the Other becomes blurry.

 

BYUNG-CHUL HAN, The agony of Eros

 

 

 

 

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Artwork: Tavèrnoles baldachin(Baldaquí de Tavèrnoles). Anonymous, 13th century. Tempera, stucco reliefs and remains of varnished metal plate on cloth-covered wood.