158x210mm, softcover, 100pp
[out of print]
Astruction operates simultaneously in three different genres: philosophy, mysticism and poetry.
Philosophy is its source, it is from philosophy that its questions are posed: our era's versions of the timeless questions of space, time, existence and thinking itself. Remaining faithful to their thematic monotony, Astruction is a philosophical work, a work falling under the headline of 'philosophy'.
As a philosophical work, Astruction deals with the predestined downfall of all thinking - the laws in the middle of thinking that necessitate the dispersion of every frame. Its tacit assumption is that these laws are impossible to reveal directly. Instead, we get a series of anti-structures or astructions, corresponding to the chapters of the book:
I. Thinking; II. Dispersion; III. Time; IV. The thing; V. Reflection;
VI. Language; VII. Nature; VIII. Dialectics; IX. Existence; X. Mathematics
Beneath the enigmatic sequence of the text, we never once leave a certain origo. In none of the paragraphs is said anything but this only thing, that is the epiphany and repetition of the downfall itself. This, however, not as an eternal return, but as the exactness of an endless dispersion, and as a sad science.
Astruction is a work in philophical mysticism, insofar as it withdraws from all competition for space. Its ambition is not to claim a position within an intellectual geography. Rather, Nanok is on the search for the eye of the cyclone, a mystical realm within and beyond philosophy. An inner necessity drives her to sacrifice any position or accumulation long before they arise, in favor of a subjective timelessness.
Astruction is not an attempt to overthrow anything that has ever been said within the history of philosophy. In a spirit of inspiration without competition, Nanok only expresses a wish to reinforce the Kabbalistic notion of destiny by way of a series of modern repetitions. The structure and genesis of the ten chapters correspond to the structure and genesis of the ten natural numbers from the Ain-Soph-Aur. The ten chapters of seven pages each align our era's philosophy with certain fundamental principles of the number magic of the ancient jewish sages.
But if its read in the other direction, as a work within mysticism proper, its aim is to indicate the enchanting part of mysticism that remains untouched by organized religion. If the text at times assume a religious-hypnotic character, this is to be understood romantically as the undecipherable remnants of a withered religion, from which all temples and altars would be foreign.
Thirdly, Astruction is a work of poetry, where the operations of thought by no means try to escape from rythmic and melodic concerns. What Nanok tries, instead, is to demonstrate how the mystery of beauty infiltrates thinking even in the most formal of its capitulations.
Nanok makes poetry out of the language of philosophy, as if rythms and resonances were part of thinking itself. The text expresses her love for the language of philosophy as for a beautiful lyricism, that makes it possible to praise the breathtaking shards of a decaying world - even at the extremest of distances.
Nanok is associated to the STYX-movement of philosophers, poets and painters. Earlier this year, Styx Förlag published chapter VII of Astruction in its famous AUTISTISK KILSKRIFT anthology, aptly described by Art Forum as "an exploration of radical thanatology". The darkness of the anthology provided the ultimate backdrop for her strange light, and her reading at the Fylkingen Happening "Temple of the Black Pearl", 8-9 sept, 2006, was a great success. A darkly unique voice, between times and beyond time.
Presentation of Nanok (in swedish).
Interview with Nanok by Anna-Karin Selberg (in swedish).