Needless scruples, for his friend was plunged in the deepest of hallucinations: the non-interpretive kind. In a sense, Rugendas was the one who had taken non-compensation to the limit. But he did not know this, nor did it matter to him.
The proof of this achievement was that while conversing silently with his own altered state (of appearance and mind), he continued to see things and, whatever those things were, they seemed to be endowed with “being.” He was like a drunk at the bar of a squalid dive, fixing his gaze on a peeling wall, an empty bottle, the edge of a window frame, and seeing each object or detail emerge from the nothingness into which it had been plunged by his inner calm. Who cares what they are? asks the aesthete in a flight of paradox. What matters is that they are.
[An Episode in the Life of a Landscape Painter, Aira, C.]
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