By E. M. Cioran
Un autor de culto
Taurus recupera uno de los textos clave de l. a. obra de E. M. Cioran. Estos aforismos, escritos en su etapa de madurez, condensan su pensamiento de manera tan lacónica como eficaz y coherente, y constituyen un hallazgo decisivo para cualquier amante de las paradojas y l. a. ironía.
Tallados con precisión, hablan del tiempo, de Dios, de los angeles religión, del silencio, de l. a. muerte y del nacimiento, «una casualidad, un accidente risible». En ellos conviven una devastadora lucidez junto a un humor sin límites, y los angeles lógica más aplastante junto al mayor contrasentido. Opuesto al optimismo y l. a. autocomplacencia de un modo radical, Cioran no desalienta, tiene el talento de fortalecer.
«Las contradicciones de Cioran, lejos de invalidar su obra, más bien revelan los angeles fuerza y los angeles belleza de esta.»
Éric Chevillard, Le Monde
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When smelling or tasting a curry, for instance, I can thus pick out the distinct figure-like odor41 or flavor of the cumin or garlic in it from its background-like olfactory or gustatory surroundings. ”42 Yet the applicability of the figure-and-ground model beyond the visual domain is most strikingly evident in our ability to differentiate auditory figures from the acoustic background in which they are perceptually embedded,43 as exemplified by the way we habitually parse continuous spoken input into distinct words.
For precisely the reason that it hinders our ability to spot things, however, their inconspicuousness also helps us when we try to hide them. Indeed, as a process ultimately antithetical to searching, hiding actually involves reversing the perceptual conditions necessary for a successful search. Given the fact that objects are more noticeable when they move against a fixed background, for example, one can easily understand why prey animals often “freeze” when trying to hide from a predator.
Often played in supermarkets, elevators, and public lavatories, “background music” is clearly not meant to actually attract anyone’s attention. ”61 As sometime film composer Aaron Copland glumly observed, it is “the most ungrateful kind of music for a composer to write. Since it’s music behind, or underneath, the word, the audience . . ”62 R E L E VA N C E A N D I R R E L E VA N C E Although originally conceptualized specifically within the context of sensory perception, the figure-and-ground model is nevertheless applicable to non-sensory modes of cognition as well.