Miru Kim’s art project..
In the country, he thought, the gods still come to people. A man matters, his experiences matter, but in the city, where experiences come by the thousands, we can no longer relate them to ourselves; and this is of course the beginning of life’s notorious turning into abstraction.
But even as he thought all this, he was also aware of how this abstraction extended a man’s power a thousandfold and how, even if from the point of view of any given detail it diluted him tenfold, as a whole it expanded him a hundredfold, and there could be no question of turning the wheel backward.
…he continued to be fascinated by the idea of the city at night, by the potential for revelation contained by darkness.
One died, and the soul was wrenched outOf the other in life, who, walking the streetsWrapped in an identity like a coat, sees on and onThe same corners, volumetrics, shadowsUnder trees.
Why are we satisfied to speak
vaguely of a red nose, without specifying what shade of red, even
though degrees of red can be stated precisely to the micromillimeter
of a wavelength, while with something so infinitely more compli-
eatedas what city one happens to be in, we always insist on knowing
Cities, like people, can be recognized by their walk. Opening his eyes, he would
know the place by the rhythm of movement in the streets long before
he caught any characteristic detail.