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		Martin Conrath, D

			sub fiction Epilogue

		The fact that sights and insights are connected site-specifically – sometimes solely – to the ability to focus we, in brief, owe the dream. The perceptions attempt to connect the disposition of the psyche with the adaptive, that with opened eyes as well as the subliminal, in which we remember and cope. Derrida's far-sighted essay, „Sketches of a Blindman“, refers exclusively to this type of creativity from memory and for memory. Nowhere else can be found a better description of fiction, the narrative, the shared recollection of reality. Another phenomenon, asynchronicity, in which the contents of dreams precede consciousness and leave an afterglow, we owe the certainty of silent participation in a speechless reality of gestures, indication, codexed images. All of this belongs to the cultural goods and commodities prior to any specified use and is therefore also tainted with opposition, aggression and negation, manifesting itself above all in social circumstances, in which the disposition of power is being dealt with rather than the disposition of the psyche. The subject here is more about the necessity of the formation of groups and the accumulation of power than about their dispersion. From these two different yet complementary phenomena there arises a strangely common, imperial affectation in the silence: a will-o'-the-wisp focus as well as the memory of a prior hiding place wants to ensure that there is at least one subsidiary place from which the world is at least non-verbally clear and had been possessed, in which it appears to have the same morphological character and where in a rough way symbols of somehow familiar images can be seen, parallel to the subsumptive headstand. It is a place of paradox, of the logical hermaphrodite, where the power of disposition may have vanished, but has also been exposed as illusion, as an object of perception, as a pose. As much real as fictional, this pose of silence speaks up into awareness: because it clearly has nothing to do with the hush in which a simple feeding of images is liberally disguised. The synchronicity is cleverly omitted in favor of a categorical pawning where time drags or is dragged, or space moves and is cleverly moved. In this way fictional work is subversive to the reality of fiction: it is accomplished before a statistical question can be posed and have effect and upon closer inspection it disappears.