7] 1 Origin here signifies that from where and through which a thing is what it is, and how it is. What something is, how it is, we name its essence (Wesen). The origin of something is the provenance of its essence. The question of the origin of the work of art asks after the work's essential provenance. The work, according to common understanding, springs out from and through the activity of the artist. But through what and from what is the artist what he is? Through the work; the saying that the work commends the master, says: The work first lets the artist emerge as a master of art. The artist is the origin of the work. The work is the origin of the artist. Neither is without the other. However, neither of them alone bears the other. Artist and work are, each in themselves and in their mutual relations, through a third, namely through art, which is the first from which artist and artwork have their name.

Millions of people around the world today use digital tools and platforms to create and share sophisticated cultural artifacts. This book focuses on one such platform: Instagram. It places Instagram image culture within a rich cultural and historical context, including histories of photography, cinema, graphic design, as well as contemporary social media, design trends, music video, and k-pop. At the same it uses Instagram as a window into the identities of a young global generation connected by common social media platforms, cultural sensibilities, and visual aesthetics.

My book is an experiment to see how we can combine traditional “qualitative” approaches of media theory and art history with quantitative analysis that uses “big cultural data” and computational methods. I am drawing on the analysis of 15 million images shared on Instagram in 16 global cities during 2012–2015 carried out in our Cultural Analytics Lab, publications from many other labs, my own informal observations from using Instagram for five years, and my direct observations of mobile phone photography cultures during 2010–2015 in 58 cities located in 31 countries.

"Representations", N. 129, Winter 2015.

The essay analyzes the project of maintaining the body of V. I. Lenin in the Mausoleum in Moscow for the past ninety years, focusing on the unique biological science that developed around this project, and the unexpected political role this body has performed.

(Note added fall 2015: I notice this file is being read a lot. It is an older version; it has been updated for the book "Visual Worlds." If you would like to cite it please write me for the new version.)

Recently art history and art theory have become interested in the materiality of the artwork: its substance, its matter, its bulk and presence, its tactility, its properties other than optical ones. This essay presents several reasons to be wary of those new interests.

Our lack of awareness of Being results in bewildering experience. The intrinsic inner radiance, the inner light of Being arises out of primordial luminous spaciousness, the unbound openness of unbound pure potentiality. When this primordial ground of Being is veiled and obscured by the lack of experiential awareness, we can be locked into dualistic experiences, and consequently the non-dual nature of the field of Being is experientially foreclosed. The sense of indivisibility of all phenomena and awareness is experientially foreclosed. The capacity to see into, feel into and see through the lucidity of phenomena as the very field of Being becomes foreclosed and densified. We then live contained in mind alone. There is no experience of the field of Being. Without the field of Being we easily become things and objects both to our self and to others.

It is not easy to understand the nature of the guru and understanding the nature of the guru can be bewildering. There is often bewilderment about the guru. One source of the bewilderment is that people think that the guru is an individual person and for most people the understanding that the guru is not a person has been foreclosed. The guru is not a person. And when people see and believe the guru is a person, such a belief will create illusions about the person whom they think is the guru, and their own relationship with the person whom they see as the guru will fall into various forms of the psychology of transference. Moreover, the true and pervasive nature of the guru will be concealed and the power of the guru limited and anthropomorphized, and politicized. To use Heideggerian language the ontic dimension will become the focus and the ontological dimension becomes foreclosed. In fact, the guru is not an entity, the guru is not a thing, and the guru is not even a being. The guru is the field of Being. The guru is the field of Being's manifestation of understanding, manifestation of protection and manifestation of self-revelation. The guru is the radiance of primordial awareness. The contemporary master of Kashmir Shavism, Swami Muktananda would teach, using the language of theology, " the guru is the grace bestowing power of God. " He would also say " The guru is your own innermost awareness and you must get beyond your mind to experience the guru as your own awareness. " Vehicle-ness It is also equally true that a person can be vehicle of the guru. Even you and I can be a vehicle for the guru. The light of the guru can manifest and shine forth through you and me, and through everyone. The power of the guru does not manifest only through institutional religious teachers as some would like you to think, but most often this manifestation is through

Affect has historically been conceptualized in one of two dominant ways. The first perspective, which has its roots in psychology and neuroscience, tends to view affect as an elemental state. This tradition is reflected in Silvan S. Tomkins's theory of primary affects and Antonio Damasio's theory of basic emotions. Recent extensions of this tradition include the work of Eve Kosofsky Sedgwick, Lisa Cartwright, and Teresa Brennan. The second perspective, which is typically associated with developments in philosophy and the humanities, treats affect as an intensive force. This tradition, whose most famous proponent is Gilles Deleuze, is evident in Brian Massumi's theory of autonomous affect and Nigel Thrift's non-representational theory. Recent extensions of this tradition tend to emphasize the importance of materiality, or what Jane Bennett has called "thing-power." A number of scholars working in communication and cultural studies have created a third, hybrid tradition that attempts to bridge or mediate the two dominant historical accounts. This third perspective includes Lawrence Grossberg's notion of affective investments, Christian Lundberg's Lacanian-inspired view of affect, Sara Ahmed's work on the sociality of emotion, and Gernot Böhme's theory of atmospheres.

Resumen

Se aborda el fenómeno del individualismo contemporáneo, las transformaciones de la intimidad y la fragilidad de los vínculos humanos. Se muestra cómo las sociedades telemáticas dan lugar a nuevas formas de fuga y ausencia del mundo, a un malestar cultural, donde hombres escindidos entre la agresión y el temor, experimentan derivas identitarias y zozobras existenciales ante la exacerbación del consumo, la alienación del trabajo y el terror difuso de las ciudades del pánico.

Carl Jung describes how the human unconscious is the hidden cosmological archetypal dimension of our being in the world. There is the personal unconscious that reflects personal history and experience either forgotten or foreclosed. There is another unconscious that is more primary, pre-reflective and cosmological in origin. In the language of the ancient Phenomenological Dzogchen tradition of Tibetan Buddhism, this existential dimension of archetypal manifestation is called the Sambogakaya realm of experience. This is the subtle realm of lucid forms of light and energy and vortices. These forms of light and energy field configurations become everything and anything. The Sambogakaya dimension manifests the Nirmanakaya dimension. The Nirmanakaya dimension is the actual experience of our self in contextual situations, unfolding through time and space as well as our unfolding of our personal psychological experience. Nirmanakaya is the dimension of our ordinary life world. Nirmanakaya is our being in the world. There is one more dimension. This dimension is the primordial foundational ground of everything and anything. In the ancient tradition of Dzogchen this is named as the Dharmakaya. Dharmakaya is the existential dimension of pure potentiality, pure creativity from which everything and anything manifests. Dharmakaya manifests the Sambogakaya. Dharmakaya is ground awareness, the ground of being. Dharmakaya is Being. Being is not a being but Being manifesting being as infinite numbers of numerous beings. All beings are the manifestation of Being. Dharmakaya is not an entity but manifests infinite numbers of entities.

Embodiment or embodied awareness is a way of understanding the body. The body is not simply the external body, the body is the lived body. Both the 10 th century Kashmir philosopher Abhinavagupta and the contemporary French phenomenologist Merleau Ponty have a similar view of the lived body, or better 'lived' embodiment. A person may have a most beautiful external objective body but minimally lived in. Embodiment allows us to understand and conceive of the body as a way of living, experiencing and of perceiving through the medium of our embodiment. The body is the medium of the field. A person perceives not simply through eyes and ears alone, but through the whole body. Our body is an instrument of perception. Our body is an instrument of knowingness. The embodiment of awareness is the lived embodying of primordial awareness that liberates our being in the world. The embodiment of awakened awareness pulsates in resonance with and within Being itself.

We have two ways of knowing. Our mind knows forms, things, both subtle and gross. Faces, hands, buildings, trees, math formulas, mind knows subject and the mind knows otherness. The mind knows dualities, the mind knows me and you, us and them, and this and that. Mind knows time, mind knows the past, the present and the sense of the future. The mind knows things and entities, the mind knows beings, infinite numbers of beings and things. The mind knows difference. The mind thinks conceptually, feels affectively, imagines through imagery, the mind has sense and the mind has memory. The mind knows dualistically.

The paper discusses Derrida's concept of hospitality which perfectly describes the experience of loosing the sense of feeling at home and reveals the disintegrating entrance of the Otherness into a coherent home space. Jacques Derrida's theory makes it possible to deconstruct the familiar home space, which, however, does not constitute in any case its destruction. Revealing a complex and ambiguous nature of the challenge of hospitality, he perceives the sense of feeling at home as one of the necessary conditions of a stable subject. This is the subject that most fears the Otherness which could disrupt, unsettle their permanent structure and a sense of certainty. Therefore, the Author follows closely the fear of strangeness and the nostalgic longing for the sense of feeling at home as depicted by David Lynch and Michael Haneke in their films. Then he passes on to the field of contemporary art which not only reveals the fact that something has happened to the house we have known so far, but it also allows for creative deconstruction of the feeling at home. The artistic works selected by the Author break the binary oppositions: one’s own/someone else’s, familiar/strange (Jessica Sue Layton), close/distant (Shizuka Yokomizo) and finally the most important one: interior/exterior (Marja Pirilä, Eve Dent).

In the paper the aesthetical category of industrial architecture is discussed. Through a brief historical overview of the development of industrial architecture, the aesthetic and formal qualities of this building typology were identified. In a situation when the territory of today's cities, "flooded" by physical remains of an important period of our humanity, industrial era, in the form of buildings and complexes of former industrial giants that are tightly woven into the urban matrix, the paper addresses the issue of how the aesthetics of industrial architecture becomes close or is close to modern man and the society. On the assumption that this relationship is one of the key factors for establishing successful revitalization of old industrial properties, the paper discusses the current trends of industrial heritage evaluation and the relationship between this process and the public opinion as a relevant indicator for the proper decisions.

Every era has to reinvent the project of "spirituality" for itself. (Spirituality = plans, terminologies, ideas of deportment aimed at the resolution of painful structural contradictions inherent in the human situation, at the completion of human consciousness, at transcendence.)

Instagram is the perfect medium of the "aesthetic society."  In such society, production and presentation of beautiful images, experiences, styles, and user interaction designs is central for its economic and social functioning. Aesthetic society values space designers, user experience designers, architects, photographers, models, stylists, and other design and media professionals, as well as individuals who are skilled in using Instagram, other social networks and blog platforms, and media editing, creation, and analytics tools. “Using” in this context refers to creating successful content, promoting this content, communicating with followers, and achieving desired goals.

Aesthetic society is also the one where urban / social media tribes emerge and sustain themselves through aesthetic choices and experience. In the words of Michel Maffesoli who developed analysis of “urban tribe” already in 1980s, “it refers to a certain ambience, a state of mind, and it is preferably to be expressed through lifestyles that favor appearance and form.” And the ambience and state of mind, as I argued in Chapter 3, is exactly the “message” of Instagramism. If in the modern societies carefully constructed aesthetic lifestyles were the privilege of the rich, today they are available to all who use Instagram, VSCO, or any other of 2000+ photo editing apps, or shop at Zara which offers cool, hip and refined styles in its 2200 stores in 88 countries (2015 data).

In the original vision of artificial intelligence (AI) in 1950s, the goal was to teach computer to perform a range of cognitive tasks. They included playing chess, solving mathematical problems, understanding written and spoken language, recognizing content of images, and so on.  Today, AI (especially in the form of supervised machine learning) has become a key instrument of modern economies employed to make them more efficient and secure: making decisions on consumer loans, filtering job applications, detecting fraud, and so on.

What has been less obvious is that AI now plays an equally important role in our cultural lives, increasingly automating the realm of the aesthetic. Consider, for example, image culture. Instagram Explore screen recommends images and videos based on what we liked in the past. Artsy.net recommends the artworks similar to the one you are currently viewing on the site. All image apps can automatically modify captured photos according to the norms of "good photography." Other apps "beatify" selfies. Still other apps automatically edit your raw video to create short films in the range of styles. The App The Roll from EyeEm automatically rates aesthetic quality of you photos. (. . . )

Does such automation leads to decrease in cultural diversity over time? For example, does automatic edits being applied to user photos leads to standardization of “photo imagination”? As opposed to guessing or just following our often un-grounded intuitions, can we use AI methods and large samples of cultural data to measure quantitatively diversity and variability in contemporary culture, and track how they are changing over time?

“Life as Art from Nietzsche to Foucault” presents a constructive argument for how one may construct one’s life through aesthetics. The study begins with an examination of dandyism, which gives a negative point of reference for framing the artful life. From there, Friedrich Nietzsche’s exploration of a series of ideal types is examined, revealing the ideal life to be one which playfully blends the critical spirit of science with the illusory spirit of art to create a self which is liberated and affirmative. These lines of argument are pursued in the three parts which follow, beginning with an examination of the “negative” dimension of the artful life in Theodor Adorno and Herbert Marcuse which reveals the necessity of resistance and the possibility for an artful society/individual. This is placed in tension with the “positive” dimension of the artful life, articulated by Martin Heidegger, Maurice Merleau-Ponty, and Jean-Luc Marion. Each contributes to the development of “embodied poetic thinking,” a concept which signifies the potential for affirming immanence through the various bodily modalities and forms of thought. The work of Marion also shows the possibility for revelation in the artful life. These two moments are concretized by the ethics of Albert Camus and Michel Foucault, who collectively show the ways in which one can deploy the aesthetic in everyday practices directed towards the production of self. Seen through these three loci, life as art provides a means for creating a life which is resistant and affirmative, forging a liberated space into which one may continually deploy the aesthetic to create new selves which give meaning to the world.

RESUMO: Este trabalho visa apresentar como a carboxiterapia pode contribuir no manejo do fibro edema gelóide (FEG), flacidez de pele e cicatrizes atróficas. Aspectos fisiopatológicos do FEG, da flacidez de pele e das cicatrizes atróficas com o uso da carboxiterapia são apresentados. O FEG, também conhecido como celulite, a flacidez de pele e as cicatrizes atróficas afetam cerca 80-90% das mulheres após a puberdade e gestação. A técnica permite a melhora das irregularidades da pele, a circulação e oxigenação local, o que consequentemente melhora o FEG. A técnica também tem mostrado grandes melhoras na elasticidade da pele, promovendo uma regeneração tecidual e uma melhora da sustentação da pele, o que diretamente, melhora o aspecto das cicatrizes atróficas e da flacidez de pele. Palavras-chave: Fibro edema gelóide. Carboxiterapia. Flacidez de pele. Cicatrizes atróficas ABSTRACT: (The use of carboxitherapy in gynoid hydrolipodystrophy, atrophic scars and saggy skin).

Cover: Thessaloniki, Rotunda: detail of angel (photo: B. Kiilerich) main reason for Pacatus' admonition. 5 At Silahtaraga on the outskirts of Constantinople, slightly under life-size marble statues of Artemis, Selene, Helios (Fig. 1.1) and Heracles, and snake-tailed figures in dark grey limestone have come to light. 6 Similarly carved in dark stone, remains of snake-legged giants have been found in a fourth-century building at Valdetorres de Jarama in central Spain. 7 In Spain, as in Constantinople, the presence of the giants suggests a group composition with figures in dynamic poses and with dramatic potential. Since Pacatus refers to labours, triumphs and wars, he seems to be thinking of visual narratives rather than single figures. While some of Heracles' labours could be shown as abbreviated narratives, for example, the hero holding the apples of the Hesperides, other subjects would require more complex modes of representation: images set up as grand tableaux suggesting spectacular compositions. Due to the fact that mythological subjects were fashioned in a conventional manner, Idealplastik, by nature conservative, is quite difficult to date. Based on the belief that such statuary was no longer made in later antiquity, scholars formerly tended to assign works that were traditional in style and subject matter to the second or early third century. Thus the Silahtaraga sculptures were first assigned to the late second century, while recent research 5. N.

This essay addresses the questions raised by the distinctly human trait of creating images. For instance, why do humans create images and what are their features that make them special? How are image-making and the uses of images related? What is the purpose of images? This " problem of images " is examined through the lens of modern neuroscience, and the author suggests why and how neuroscience can investigate our relationship with art and aesthetics, framing this empirical approach as " experimental aesthetics. " He illustrates how recent discoveries have revolutionized our ideas about perception, action, and cognition and the relationship among them, allowing a fresh look—complementary to the humanistic approach—at the problem of images. He proposes a new model of perception and cognition called embodied simulation, which reveals the constitutive relationship between body and creative expression.

Nel corso degli ultimi trent'anni la rapida evoluzione delle tecnologie digitali ha determinato la comparsa di nuove tipologie di immagini e di nuovi dispositivi di visione, introducendo forme inedite di visualizzazione e di spettatorialità. A fronte di un panorama iconico e mediale in continua trasformazione, diventa sempre piú urgente elaborare una serie di concetti e di strumenti in grado di aiutarci a comprendere la dimensione culturale -tecnicamente, socialmente e storicamente determinata -delle immagini e dello sguardo. Il volume ricostruisce innanzitutto le origini del concetto di «cultura visuale» e lo sviluppo di quell'ampio campo di studi che si è affermato a livello internazionale con i nomi di visual culture studies e Bildwissenschaft, determinando una vera e propria svolta iconica nelle scienze umane e sociali (e persino in settori rilevanti delle scienze naturali). Vengono quindi presentate le coordinate teoriche e metodologiche essenziali per affrontare un'analisi critica delle culture visuali del presente e del passato. Sommario: Introduzione. i. Un campo di studi transdisciplinare. ii. Genealogie. iii. Occhi, sguardi, spettatori. iv. Supporti, media, dispositivi. v. Alta e bassa definizione. vi. Gli usi sociali delle immagini. -Bibliografia. -Indice dei nomi.

The Philosophy of Design is an introduction to the fundamental philosophical issues raised by the contemporary practice of design. The first book to systematically examine design from the perspective of contemporary philosophy, it offers a broad perspective, ranging across key philosophical areas such as aesthetics, epistemology, metaphysics and ethics.
The first part of the book explores central issues about the nature of design and its products, and the rationality of design methods. A central theme is that Modernist ideas, such as those offered by Loos and Gropius, provide important responses to these philosophical issues. In the second part of the book, these Modernist ideas serve as touchstones in the exploration of key issues for design, including: the place of aesthetics in design; design s relation to personal expression; the meaning of function; and design s relation to consumerism. The social responsibility of designers, and the impact of design practice on ethical reasoning are also discussed.

We live in an age of the mobile image. The world today is absolutely saturated with images of all kinds circulating around the world at an incredible rate. The movement of the image has never been more extraordinary than it is today. This recent kinetic revolution of the image has enormous consequences not only for the way we think about contemporary art and aesthetics but also for art history as well.

Responding to this historical moment, Theory of the Image offers a fresh new theory and history of art from the perspective of this epoch-defining mobility. The image has been understood in many ways, but it is rarely understood to be fundamentally in motion. The original and materialist approach is what defines Theory of the Image and what allows it to offer the first kinetic history of the Western art tradition. In this book, Thomas Nail further develops his larger philosophy of movement into a comprehensive "kinesthetic" of the moving image from prehistory to the present. The book concludes with a vivid analysis of the contemporary digital image and its hybridity, ultimately outlining new territory for research and exploration across aesthetics, art history, cultural theory, and media studies.

In his later life Maurice Merleau Ponty changed his understanding of how human beings know Being and how human beings know phenomena. His mature understanding went far beyond the early phenomenology of Husserl. His understanding and intellectual position about the subjectivity of mind alone with its corresponding subject object duality dissolved into a experience of non duality within appearance. His dualistic understanding about Being changed to the vast nondual awareness of Being as the source of both subjectivity and objectivity. Before his work on the Visible and the Invisible Merleau Ponty's thought was contained by equating subjectivity with mind alone and with object alone. His view was dualistic and the source of knowing was located in mind alone. Mind means the functions of thinking, feeling, sensation, memory and fantasy.

Despite massive interest in visual culture and an abundance of theories on images, basic questions still animate researchers: What is an image? How does it work? Why is it powerful? This article reviews the growth of Visual Culture studies and provides an overview of key questions of visuality, how they have influenced research and offers a glimpse into future directions occupying the field.

Art writing normally contrasts art with "everyday life." This book explores art as integral to the everyday life of modern society, providing materials to represent class and class conflict, to explore sex and sexuality, and to think about modern industry and economic relationships. Art, as we know it, is not common to all forms of society but is peculiar to our own; what art is changes with people's conceptions of the tasks of art, conceptions that are themselves a part of social history. The history of society does not shape art from the outside, but includes the attempts of artists to find new ways of making art and thinking about it.

In the summer of 2013 at the Tibetan Center in Poolesville, Maryland the great Lama YangThang Rinpoche gave instruction on the practice of the great compassion, or as he described the practice, as being the practice of Absolute Compassion. The instruction was to extend the light of awareness into the world and into the cosmos. Extending the light of awareness into the present moment of a person, extending the light of awareness into the past time of the person and extending the light of awareness into the future time of the person. This truly is the great practice of the great compassion and everyone can practice this extension of the light of awareness. This very proactive praxis brings forth the light within us and fills us with the light of the field of awareness. It is great to practice this vast practice. Of course it takes a boldness of intention and passion of heart. Extending the light of our innermost awareness into the present of those we love, and into the past of those we love, and then extending the light into their future of those we love is self-liberating. The light of awareness illuminates experience, metabolizes experience, opens us into un-bound awareness, undoes fixated-ness, and brings forth luminous intensity. The light of awareness is pure potentiality. The same practice can be used with those whom we hate or dislike or whom disgust us. This practice of extending the light of awareness deepens our own experience of becoming aware of awareness. As we practice extending the light of awareness, awareness itself completely opens up for us and deepens our experience in depth and breath. In time we begin to experience the true secret of this praxis. Timeless awareness begins to be experienced by us and sustained by us. Timeless awareness is the

Estéticas fronterizas: diferencia colonial y opción estética decolonial Este libro indaga la dimensión estética de la modernidad para hacer visible una perspectiva inédita: su colonialidad; primero como teo-estética en los siglos XVI-XVII y luego como ego-estética secular en la segunda modernidad, desde el siglo XVIII en adelante. La estética en su operar colonial oculta y subordina otras estéticas y prácticas; de ahí que en la argumentación se pase de la estética en singular a las estéticas en plural y a las estéticas decoloniales en especial. El argu-mento central del libro consiste en una doble operación que devela la acción de la colonialidad estética y, al mismo tiempo, la irrupción de prácticas decoloniales desde la aiesthesis colonizada; esto es, desde la frontera ontológica construida por la colonialidad del poder. El objetivo no es hacer una historia de las ideas estéticas, sino visibilizar un conjunto de prácticas artísticas en el presente y en su contexto dentro y fuera del denominado " campo " del arte en Colombia. Tres obras del artista José Alejandro Restrepo, la práctica de las estatuas vivas urbanas o estatuismo y el cine docu-mental de Marta Rodríguez conforman los estudios de caso que le dan cuerpo a esta indagación.

Resumen:
El presente artículo se propone dar cuenta del elusivo fenómeno de la conciencia desde la original perspectiva de la neurofenomenología de Francisco Varela, quien a partir de nociones tales como neuroplasticidad, enacción y emergencia, explica, cómo ocurren los procesos cerebrales que fundan la conciencia y la “unidad” de la vivencia. Describiendo como la conciencia aparece en el vivir encarnado: en la regulación con el cuerpo entero; en sus relaciones sensorio-motoras con el mundo y en una red ínter-subjetiva de acciones y de lenguaje.
Palabras clave: Neurociencias, biología cultural, ciencias cognitivas, cuerpo, mundo, ética, enacción, saber-cómo.
Dr. Adolfo Vásquez Rocca

The study of Indian art should begin with some question.
But how was this art made? What were its guidelines? What was its purpose? These answers emerge from the study of Indian philosophy at large and Indian aesthetics in particular. This paper aims to present an overview of aesthetics in the tradition of Indian art, as it has been understood right from the Vedic to this day. With a basis of art theories from ancient treatises this paper hopes to present a brief view of what is considered the best and beautiful in art.

Resumen
Consultado Peter Sloterdijk acerca de ¿qué obras recomendaría?, responde: En primer lugar, El nacimiento de la tragedia, de Nietzsche, una teoría del arte. En segundo lugar, a Andy Warhol, con su libro: The philosophy of Andy Warhol. From A to B and back again (‘Mi Filosofía de A a B y de B a A’). Este originalísimo libro constituye no sólo una crónica de la vanguardia artística de New York y su particular fauna, sino a través de un repertorio de frases y agudas observaciones Warhol nos ofrece lo que es fundamentalmente una crónica del american way of life, de su glamour y decadencia. Entre sus frases memorables no se puede dejar de citar entre otras: «Shopping is much more american than thinking» (‘comprar es mucho más americano que pensar’). O «Nunca me molesto en arreglarme o en tratar de ser atractivo porque simplemente no quiero que nadie se comprometa conmigo; descuido mis buenos atributos y destaco los malos, de modo que tengo un aspecto espantoso y llevo los pantalones equivocados y los zapatos equivocados y llego en el momento equivocado con amigos equivocados y hablo con la gente equivocada, y si aún así, alguien se interesa por mí huyo y me pregunto. ¿En qué me equivoqué?… El asunto es que conocer a una persona más me resulta simplemente demasiado difícil, porque cada nueva persona ocupa más tiempo y espacio…»