Beyond the Future: Papers from the Third Asia Pacific Triennial of Contemporary Art

nineteenth and hence other p revious centuries of European history. [This section, which will be closer to the way this will eventually be published, was added after the presentation: Of course! We do need to slip beyond the future, that is to say, beyond notions of the future formed in previous centuries. Those notions of the future are as antique, and as charged with sad histories, as the expo a rt maquette with which I started . Those notions of the future are, furthermore, at the decayed core of the expo art we produce today.] 'There is a dizzying moment early in the narrative when the young mestizo hero, recently returned from a long sojourn in Europe, looks out of his carriage window at the municipal botanical gardens, and finds that he too is, so to speak, at the end of an inverted telescope. These gardens are shadowed automatically - Rizal says maquinalmente - and inescapably by images of their sister gardens in Europe. He can no longer matter-of-factly experience them , but sees them simultaneously close up and from afar. The novelist arrestingly names the agent of this incurable, double vision e/ demonio de fas comparaciones.' Anderson , Bened ict, The Spectre of Comparisons: Nationalism, Southeast Asia and the World, Verso: London and New York, 1 998, p. 2 2 Adam Kuper, Culture: The Anthropologists ' Account, Cambridge, Massachusetts and London , England : Harvard University Press, 1 999, pp. 238 to 239. Works Cited Anderson , Bened ict. The Spectre of Comparisons: Nationalism, Southeast Asia and the World, Verso: London and New York, 1 998 . Kuper, Adam . Culture: The Anthropologists ' Account, Cambridge, Massachusetts and London, England : Harvard University Press, 1 999. 38 1