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In 1926: living at the edge of time - Monoskop

In 1926: living at the edge of time - Monoskop

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366 CODES COLLAPSED<br />

blurring <strong>of</strong> <strong>the</strong> distinction between Center and Periphery. Without this<br />

distinction, space can be nei<strong>the</strong>r measured nor mastered, because it may<br />

oscill<strong>at</strong>e between infinite expansion and infinite contraction. Thus, <strong>the</strong><br />

most outrageously ironic detail in Kafka's Schloss is <strong>the</strong> fact th<strong>at</strong> K. is a<br />

surveyor (Landvermesser, literally "land-measurer"). For space seems<br />

constantly to be expanding and contracting around him. A case <strong>of</strong> such<br />

sp<strong>at</strong>ial instability is <strong>the</strong> passage th<strong>at</strong> explains why K. never reaches <strong>the</strong><br />

castle: "For <strong>the</strong> street he was on, <strong>the</strong> main street <strong>of</strong> <strong>the</strong> village, did not<br />

lead up to <strong>the</strong> castle hill. It only headed toward it and <strong>the</strong>n, as if<br />

deliber<strong>at</strong>ely, turned aside; and though it did not lead away from <strong>the</strong><br />

castle, it led no nearer to it ei<strong>the</strong>r ... He was also amazed <strong>at</strong> <strong>the</strong> size <strong>of</strong><br />

<strong>the</strong> village, which seemed to have no end" (Kafka, 14). Some<strong>time</strong>s,<br />

Kafka introduces images th<strong>at</strong> make such distortions <strong>of</strong> space partly<br />

plausible, but he never returns to a Euclidean context. The parents <strong>of</strong><br />

K.'s colleague Barnabas, for example, make strenuous efforts to come<br />

closer to K., despite mysterious sp<strong>at</strong>ial constraints: "The gouty old f<strong>at</strong>her<br />

... progressed more with <strong>the</strong> aid <strong>of</strong> his groping hands than by <strong>the</strong> slow<br />

movements <strong>of</strong> his stiff legs, and <strong>the</strong> mo<strong>the</strong>r, with her hands folded on<br />

her bosom, . . . was equally incapable <strong>of</strong> any but <strong>the</strong> smallest steps<br />

because <strong>of</strong> her stoutness. Both <strong>of</strong> <strong>the</strong>m, f<strong>at</strong>her and mo<strong>the</strong>r, had been<br />

advancing from <strong>the</strong>ir corner toward K. ever since he had come in, and<br />

were still a long way <strong>of</strong>f" (29). A space in which <strong>the</strong> distinction between<br />

Center and Periphery has collapsed, a space <strong>of</strong> <strong>In</strong>finitude, is a space in<br />

which measuring distance and speed has become problem<strong>at</strong>ic (if not<br />

impossible). This difficulty corresponds to one th<strong>at</strong> pilots frequently<br />

encounter when flying over desert landscapes: "You have no clear picture<br />

<strong>of</strong> <strong>the</strong> speed <strong>at</strong> which you're moving in an airplane ... There are no<br />

indic<strong>at</strong>ions by which you can measure <strong>the</strong> speed, because you're passing<br />

through nothing but air" (Berliner Tagebl<strong>at</strong>t, April 8). [see Airplanes]<br />

<strong>In</strong>calculable spaces cannot be neutral frame-conditions for human<br />

actions and human behavior. Unlike <strong>the</strong> stable spaces th<strong>at</strong> are based on<br />

<strong>the</strong> distinction between Center and Periphery, <strong>the</strong>y some<strong>time</strong>s exert<br />

magical influence. This is <strong>the</strong> implic<strong>at</strong>ion <strong>of</strong> Siegfried Kracauer's description<br />

<strong>of</strong> a square in Marseilles: "See wh<strong>at</strong> is happening in <strong>the</strong> middle <strong>of</strong><br />

<strong>the</strong> empty square: <strong>the</strong> power <strong>of</strong> <strong>the</strong> quadrangle pushes <strong>the</strong> prisoner<br />

toward <strong>the</strong> center. He is alone and not alone <strong>at</strong> <strong>the</strong> same <strong>time</strong>. He cannot<br />

see any observers, but <strong>the</strong>ir gaze penetr<strong>at</strong>es <strong>the</strong> shutters and <strong>the</strong> wall.<br />

Groups <strong>of</strong> <strong>the</strong>m cross <strong>the</strong> square and intersect in its center. Naked

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