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Kasparov said: “I suggested that there were things in this match well beyond my understanding… There’s probably no way to prove that Deep Blue is making this move or that move.” Los Angeles Times, ⟪After Sudden Defeat, It's Kasparow Who's Blue⟫ 中

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Wolfgang von Kempelen ・ The Mechanical Turk (1770 - 1854)

einen Türken bauen [ˌaɪ̯nən ˈtʏʁkn̩ ˈbaʊ̯ən] : umgangssprachlich, oft als diskriminierend empfunden : in Täuschungsabsicht jemandem gegenüber einen Sachverhalt als real, wahr darstellen

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Halla Oddný Magnúsdóttir & Víkingur Ólafsson J.S. Bach : Gotteszeit ist die allerbeste Zeit

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Filippo Tommaso Marinetti ・ Manifesto Futurista (1909)

1. We want to sing the love of danger, the habit of energy and rashness. 2. The essential elements of our poetry will be courage, audacity and revolt. 3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist. 4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath … a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace. 5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit. 6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements. 7. Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man. 8. We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed. 9. We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman. 10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice. 11. We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.

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Paolo Sorrentino ・ È stata la mano di Dio (2021)

“少年よ 神話になれ”

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Opus ・ Live Is Life (1984) Diego Maradona warms up for the UEFA-Cup semi-final (1989)

“Hic Rhodus, hic salta!”

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Gayatri Chakravorty Spivak ・ Imperative to re-imagine the planet (1997)

정의와 법, 윤리와 정치, 증여와 책임은 "구조같지 않은 구조"이다. 왜냐하면 각 쌍의 첫번째 항목들은 실재하는 동시에 실재하지 않는 것들이기 때문이다. 정의와 윤리를 해체할 수 없는, 불가능의 체험으로 본다면, 이는 법적, 정치적 실천으로 행해져야하며, 경험적으로는 세심하되, 철학적으로는 이론적 정합성에 늘 벗어난 불완전한 형태로 판단되어야한다.

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Aubrey Beardsley ・ Illustrations for Oscar Wilde’s play ⟪ Salome ⟫ (1894)

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石井克人 ・ 茶の味 (2004)

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石井克人 ・ 茶の味 (2004)

「関心は愛そのもの」

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Christopher Nolan ・ Hand-Drawn Plot Map for Inception (2010)

“You musn't be afraid to dream a little bigger, darling.”

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Lionel & Roger Penrose ・ Penrose Stairs (1959) M. C. Escher ・ Ascending and Descending (1960) Christopher Nolan ・ Inception (2010)

The “impossibility” of the Penrose stairs arises because, although each flight appears as a normal upward step, the local condition of “continuously ascending” conflicts with the global requirement that, when arranged in a closed loop, the start and end points must share the same height.

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Once upon a time... when there was "Wall" on Wall Street

And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailor’s eyes–a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder. - F. Scott Fitzgerald ・ The Great Gatsby (1925) 中

In the mid-17th century, when New York was still the Dutch colony of New Amsterdam, the settlers built a wall along the northern boundary of their small community. It was not an elegant structure, but a practical one: a barrier of earth, wooden planks, and stones, meant to protect them from the threat of British forces, hostile Native American tribes, and even pirates. Running roughly along what is now Wall Street, it was a mark of vulnerability rather than grandeur, a simple defense built by a people who knew the wilderness outside their gates was vast and uncertain. The wall didn’t last long. By the late 1600s, after the British seized the colony and renamed it New York, the wall was torn down, its purpose already obsolete. But the memory of it lingered stubbornly in the name “Wall Street”, a name that would, in time, come to stand for something entirely different: not defense or fear, but ambition, risk, and the restless spirit of a new world trying to build itself into something far larger than the old.

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Robert Downey Jr. on Wall Street (1993)

“If money is evil then that building is hell. this is the most obnoxious group of money hungry — low IQ, high energy, jack rabbit, fucking wannabe-big-time, small time, shit talking bothersome, irritating bunch of motherfuckers … I have ever had to endure for more than five minutes.”

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村上春樹 ・ プールサイド (1985)

만약 수영 경기에 턴이 없고 거리 표시도 없다면, 400미터를 끝까지 전력으로 헤엄치는 작업은 어떻게 할 길이 없는 암흑의 지옥임에 틀림없다. 턴이 있어야만 그는 400미터를 두 부분으로 나눌 수가 있는 것이다. ‘이것으로 적어도 반이 끝났다’라고 그는 생각한다. 그리고 또 반–이라는 식으로 긴 거리는 점점 세분화되어 간다. 거리의 세분화에 맞추어 의지도 또 세분화된다. 즉 ‘아무튼 이 다음 5미터를 헤엄쳐 버리자’라는 식이다. 5미터를 헤엄치면 400미터의 거리는 80분의 1이 줄어드는 셈이다. 그렇게 생각해야만, 그는 물 속에서 때로는 구토하고 살을 경련시키면서도 마지막 50미터를 전력으로 헤엄칠 수가 있었던 것이다. 다른 선수들이 도대체 어떤 생각을 품고 풀을 왕복하고 있었는지는 알 수 없다. 그러나 그에게 있어서는 그 분할 방식이 가장 성미에 맞았고, 또 가장 진지한 사고 방식인 것처럼 생각되었다. 사물이 아무리 거대하게 보이고 그것에 마주서는 자신의 의지가 아무리 미소하게 보여도, 그것을 ‘5미터만큼’씩 정리해 나가는 것은 결코 불가능하지 않다는 사실을 그는 50미터 풀 속에서 배웠다. 인생에 있어 가장 중요한 것은 제대로 된 형식을 가진 인식이다.