“Some moths before writings this, at an art round table, I was asked to comment on a painting I had seen there for the first time. I did not have any idea about it, and so I engaged in a total bluff, which went something like this: the frame of the painting in front of us is not its true frame; there is another, invisible, frame, implied by the structure of the painting, and these two frame do not overlap – there is an invisible gap separating the two. The pivotal content of the painting is not rendered in its visible part, but is located in this dislocation of the two frames, in the gap that separates them. Are we, today, in our post-modern madness, still able to discern the traces of the gap? Perhaps more than the reading of a painting hinges on it; perhaps the decisive dimension of humanity will be lost when we lose the capacity to discern this gap…to my surprise, this brief intervention was a huge success, and many following participants referred to the dimension in-between-the-two-frames, elevating it into a term. This very success made me sad, really sad. What I encountered here was not only the efficiency of a bluff, but a much more radical apathy at the very heart of today’s cultural studies” - Slavoj Žižek, from "The Universal Exeption".