P76 We might also call vertigo the intoxication of the weak. Aware of his weakness, a man decides to give in rather than stand up to it. He is drunk with weakness, wishes to go even weaker, wishes to fall down in the middle of the main square in front of everybody, wishes to be down, lower than down.
Starting aware of his weakness, a man cannot help starting his own initiating ritual into his weakness. Through the ritual, he accepts a new comer “his weakness” as part of himself. In the middle of informational web of Internet, he starts confessing that he is weak to his people. To convince them as well as himself of his weakness, he starts developing his weakness and gives a more convoluted structure to it.
P88 …, but although they had a clear understanding of the logical meaning of the words they exchanged, they failed to hear the semantic susurrus (the sound of stream?) of the river flowing through them.
While people are fairly young and the musical composition of their lives is still in its opening bars, they can go about writing it together and exchange motifs …, but if they meet when they are older, like Franz and Sabina, their musical compositions are more or less complete, and every motif, every object, every word means something different to each of them.
Can we never share vocabularies without sharing our lives….?? Sad is how we notice our misunderstanding. When “the semantic susurrus (?) of the river” flows strong, we can ignore our misunderstanding or even the logical denotation of our words.
Sometimes I enjoy the combination of two totally different voices of music played. A musical motif has its own sense of time and voice. And juxtaposition of two different motifs may sometimes creates an exquisite duality which has its own artisticly balanced wholeness. Yes. That’s true, and also I am trying hard to believe the benefit of playing two different musical compositions together.