By Susan Sontag
Dalton Aarón, Diddy, un hombre anodino, de vida pagada, al que nunca ha rozado el desastre, harto de su vida y de sí mismo, intenta suicidarse. Pero se recupera, o quizá sueñe que se recupera, para emprender un viaje en un tren de lujo. Túneles, un guardavías muerto, una mujer ciega a los angeles que Diddy seduce, oscuridad, velocidad y desconcierto esperan al protagonista en cada compartimiento del tren, o de sus sueños, o del inconsciente colectivo en el que los angeles obsesión, los angeles desintegración y el miedo, al ritmo de novela negra, son las vías de un poor desenlace. publicada por primera vez en 1967, Estuche de muerte es un clásico de l. a. novela contemporánea, con una fuerte herencia kafkiana en su vinculación al mito y al inconsciente colectivo.
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FILE's parody cover of Life was produced by the General Idea Group. Distributed free, the lists helped assembling editors to distribute international mail art through networks. The importance of iconoclastic and personal code systems makes the network, rather than the internal workings of the texts, the key reference of these works. The codes refer to the network's structure, machinations, and influence. In some cases, the network consists of the participants and readers. In other assemblings, especially mail-art compilations, the network might refer to the entire historical lineage of mail art and to an elastic group of international potential participants.
Performance instructions have a didactic structural grammar; they seem to be parodies 22 Receivable Art and Poetry of scientific experiments simply because they reduce theatricality to a set of instructions. Guy Benveniste suggests that bureaucracies can represent the standardization and simplification of modernization as well as the participation involved in decentralization. Alluding to E. F. Schumacher's Small Is Beautiful as well as William Morris's experiments, Benveniste explains that bureaucratic structures can, in fact, function to encourage selfsufficiency.
Playing into his friends' and fans' initial reaction to the announcement of his death as if it were another hoaxlike artwork, the details in the follow-up New York Times article seemed to confirm that Johnson had staged the event as an artwork. The Times reported that there was apparently a series of numerological clues involved in the case. Johnson had committed suicide on January 13. The digits in his age, sixty-seven, add up to thirteen. The night before the suicide he checked into room 247 at the Baron's Cove Inn, and those digits add up to thirteen.
Estuche de muerte by Susan Sontag